Music Connection August 2015

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CONTENTS 36

Informing Music People Since 1977 !UGUST s 6OL s .O

Alabama Shakes In MC’s exclusive interview with Brittany Howard, the powerhouse frontwoman discusses her singing style, her songwriting process and how The Alabama Shakes wised up about the music industry.

By Kurt Orzeck

45 X Ambassadors

All Photos: David McClister

Through patient development, the band and its producer/label owner Alex da Kid (Imagine Dragons) achieve radio gold.

By Brett Bush

Pre-Production

Departments

An acclaimed producer (Soundgarden, Red Hot Chili Peppers, Herbie Hancock) gives you an eye- and ear-opening look at why the pre-production process is not only helpful, but essential to recording great songs.

By Michael Beinhorn

40 53 Directory of Rehearsal Studios Compiled By Denise Coso

08. Close Up 09. Assignments 10. New Toys 14. Book Store 16. Up Close 18. Studio Mix 23. Business Affairs 26. Signing Stories 28. Song Biz 32. FilmsTVsTheater 34. Mixed Notes

Reviews

60 Directory of Gear Rentals/Audio-Video Compiled By Denise Coso

20. Producer Crosstalk: Justin Collins . . . . . . . . . . . . . . . . . . . By Rob Putnam 22. Exec Profile: Bob Babisch, Summerfest . . . . . . . . . . . . . . By Andy Kaufmann 30. Songwriter Profile: Bobby Long . . . . . . . . . . . . . . . . . . . . . . . . . . By Dan Kimpel 44. Expert Advice: Get the Most Out of Music Business Blogs . . . . By Bobby Borg 70. Tip Jar: Find the Name of Any A&R Rep. . . . . . . . . . . . . . . . . . . . . By DJ Cola

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46. Album Reviews 48. New Music Critiques 50. Live Reviews

Be sure to follow Music Connection on Facebook and Twitter.

The opinions expressed in Music Connection, as well as all Directory listings and contact information, are provided by various sources in the music industry. Music Connection is not responsible for any business transactions or misadventures that may result from your use of this information.

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E. Eric Bettelli PUBLISHER E. Eric Bettelli GENERAL MANAGER / ADVERTISING DIRECTOR ericb@musicconnection.com

Denise Coso OPERATIONS MANAGER / DIRECTORIES EDITOR denisec@musicconnection.com

Steve Sattler BUSINESS DEVELOPMENT MANAGER steve@creativesalesresource.com

Hillorie McLarty ADVERTISING/MARKETING hillorier@musicconnection.com

Ray Holt DIRECTOR OF DIGITAL MARKETING rayh@musicconnection.com

Mark Nardone ASSOCIATE PUBLISHER / SENIOR EDITOR

markn@musicconnection.com

John Curry ART DIRECTOR artdirector@musicconnection.com

Siri Svay ASSOCIATE EDITOR / SOCIAL MEDIA MANAGER siri@musicconnection.com

Barry Rudolph NEW TOYS

barry@barryrudolph.com

Bernard Baur CONTRIBUTING EDITOR bbatmc@aol.com

Dan Kimpel SONG BIZ

dan@dankimpel.com

Jessica Pace &),- s 46 s 4(%!4%2 j.marie.pace@gmail.com

FEATURE WRITERS

Andy Kaufmann andy.kaufmann@verizon.net Rob Putnam toe2toe6@hotmail.com Daniel Siwek danielsiwek@roadrunner.com Editorial Interns

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CONTRIBUTING WRITERS Allegra Azzopardi, Bernard Baur, Danica Bellini, Brett Bush, Jeannie Deva, Luis Gonzalez, Gary Graff, Eric A. Harabadian, Ted Jamison, Andy Kaufmann, Mary Lemanski, Malorie McCall, Andy Mesecher, Kurt Orzeck, Jessica Pace, Victoria Patneaude, Rob Putnam, Adam Seyum, Daniel Siwek, Vincent Stevens, Grant Stoner Brooke Trout, Jonathan Widran, Ellen Woloshin PHOTOGRAPHERS Allegra Azzopardi, Bernard Baur, Daren Cornell, Jody Domingue, Jim Donnelly, Kevin Estrada, Luis Gonzalez, Apple Kaufmann, David Klein, Tony Landa, Mary Lemanski, Dave Long, Thomas Long, Malorie McCall, Kurt Orzeck, Jessica Pace, Victoria Patneaude, Scott Perham, Alexander G. Seyum, Danny Seyum, Mark Shiwolich, Daniel Siwek, Vincent Stevens, Brian Stewart, Paula Tripodi, Brooke Trout, Ellen Woloshin MANUFACTURED AND PRINTED IN THE UNITED STATES OF AMERICA

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Music Connection (ISSN# 1091-9791) is published monthly by Music Connection, Inc., 3441 Ocean View Blvd., Glendale, CA 91208. Single copy price is $3.95, Canada $4.95. Subscription rates: $35/one year, $59/two years. Outside the U.S., add $25 (U.S. currency) per year. We are not responsible for unsolicited material, which must be accompanied by return postage. All rights reserved. Reproduction in whole or part without written permission of the publishers is prohibited. The opinions of contributing writers to this publication do not necessarily reflect the views of Music Connection, Inc. Copyright Š 2015 by E. Eric Bettelli. All rights reserved.

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BRIAN BORD brianbord.com

Specializing In Homes With Recording Studios For Over 20 Years: When veteran real estate agent Brian Bord moved from London to Los Angeles in 1989, he was puzzled by the overused, uniquely American phrase “We’re #1.” So his branding motto became “I’m Not #1…My Clients Are!” Since 1995, many of those clients have turned to Bord for his expertise in marketing homes with recording studios. Working with both renowned and independent artists and producers, he matches their recording needs and specs with the best available properties. If he cannot find an existing property with a home studio, he scouts for locations that offer the ability to have one built. Brian estimates that 80 percent of the properties he sells have guest houses that clients want to turn into home studios, and only 15 percent of his home sales have studios already built in.

Serving Los Angeles and Beyond: Based in Encino and affiliated with the Beverly Hills-based Rodeo Realty, Bord has matched clients to properties everywhere in the L.A. region, from Santa Monica and Burbank to Los Feliz and Valencia. He has also expanded in recent years to finding properties in Sonoma and Las Vegas, and stays in touch with his U.K. roots by selling properties in London. The real estate market’s resurgence in recent years has ensured that Bord has never been busier looking for suitable properties for his music industry clients––but there are also numerous challenges, including lower inventory. This means there is more of a necessity to build from scratch than ever before.

Going The Extra Mile: Bord’s goal is to seek out properties that match a client’s specific set of criteria. He finds out how much of the home is for their personal use, and how much will be dedicated to the studio operation. Specification challenges include finding space with square footage that will perfectly fit their console and array of equipment, sound issues and construction logistics. “I love working with creative people, helping them put the pieces of the jigsaw puzzle together and bringing clients and the perfect properties together.”

Contact Brian Bord, brianbord@mac.com, 818-207-2100 8

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Joe Bergamini

Andy Mooney

SABIAN has appointed drummer, educator and author Joe Bergamini as an education consultant. Bergamini’s focus will be the design, implementation and maintenance of a new program aimed at drum teachers, called the SABIAN Education Network, which will provide a community for teachers to obtain tools and exchange ideas to build their education and business skills. The community will consist of a members-only website, as well as online and physical events and programs. Bergamini has been teaching private drum lessons for over 25 years, performed hundreds of clinics, is the author of 10 drum books and is co-owner of Wizdom Media LLC, an indie publisher of educational music books. Contact katieb@sabian.com.

Fender Musical Instruments Corporation has appointed Andrew ‘‘Andy’’ P. Mooney to Chief Executive Officer. Mooney joins FMIC from Quiksilver, Inc. and brings experience growing global brands such as Disney Consumer Products (DCP) and Nike, Inc. With more than 30 years of experience growing global brands, Mooney understands how to drive innovation and introduce differentiated product offerings in the market, underscoring the company’s commitment to propel the Fender brand forward. Mooney spent 11 years leading DCP, first as President and then as Chairman starting in 2003. Prior to joining DCP, Mooney worked at Nike, Inc. for 20 years in a number of senior roles. For more, contact jfarrell@fender.com.

Richard Formidoni

Drew Waters

Casio America, Inc. has welcomed Richard Formidoni to its Electronic Musical Instruments (EMI) division as the new Product Marketing Manager.

Formidoni will be involved in product training, website content, trade show demonstrations, product videos, social media and more. Previously he was the Product Training Manager, Product Specialist and Product Manager at Korg USA for 10 years where he assisted development, voicing, sales and marketing of new products. In his career, he has created presets for several synthesizer products, and has also done sound design and tech work for many touring artists such as Beyoncé, Fleetwood Mac, Justin Timberlake, The Who and more. Contact dvicinanza@coynepr.com.

The Board of Directors of the SPARS Foundation has elected Drew Waters as its new President. Waters currently serves as the Director of Education at Ex’pression College in Emeryville, CA. Waters has served in several high profile management positions including Vice President of Archives for Universal Music Group, Vice President of Capitol Studio Operations, Archives and Strategy for Capitol Records/EMI and as Partner in MediaStor Audits. He has been a consultant for Slate Digital and continues artistic endeavors through his company, Frameworks Music, composing, arranging, performing, recording and producing original content for sync and licensing through Warner/ Chappell Publishing. For more information, contact paul@spars.com.

Josh Gleave

Randy Goodman

Vintage King Audio, a company in professional audio sales, studio consulting and comprehensive gear servicing, has transitioned sales rep Josh Gleave from his work in the company’s Los Angeles store to Nashville. Prior to joining Vintage King last year, Gleave was based in Kansas City, MI, where he started out as a musician and bandleader with a following on the indie scene. After turning his attention towards work as a session bass player, Gleave recorded with a wide array of bands from the world of Christian, country and rock music. He eventually made the move to the producer’s chair in 2009 and completed scores of album projects before joining Vintage King. For additional information, contact mrbonzai@mrbonzai.com.

Sony Music Entertainment has appointed Randy Goodman to Chairman & Chief Executive Officer, Sony Music Nashville. In this role, Goodman will be responsible for overseeing all of Sony Music Nashville operations, including Arista Nashville, Columbia Nashville and RCA Nashville, as well as Provident Music Group. A 30-year industry veteran and a Nashville native, Goodman’s extensive career includes 16 years with RCA Records. During that time he served as Executive Vice President/General Manager of the RCA Label Group in Nashville. He worked with Waylon Jennings, Alabama, Dave Matthews Band, Martina McBride, Clint Black, Keith Whitley and The Judds. For more, contact allen.brown@sonymusic.com.

Peter Stack

Katie Kettelhut

BMG has appointed Peter Stack as Executive Vice President Global Catalogue Recordings. Reporting to CEO Hartwig Masuch and based in London, Stack will also be responsible for targeting further catalogue acquisitions and licences, as well as running the catalogue business across BMG’s international network. Stack will now take on responsibility for catalogs including Sanctuary Records, SPV, Mute Records, Skint/Loaded, Avenue, Dreyfus, Chrysalis/Echo and such specialist labels as Trojan (ska and reggae), Transatlantic (folk), Strictly Rhythm (dance) and Noise (thrash and speed metal). For additional information on this appiontment, contact Steve Redmond at steve.redmond@bmg.com.

Show Dog Nashville, an American independent record label specializing in country music artists, has named Katie Kettelhut to its Promotion Coordinator position, effective immediately. She will be supporting the promotion staff as well as working on the Show Dog Nashville socials. Kettelhut graduated from the Minnesota School of Business receiving honors in academic achievement, and in addition worked as an intern at TKO Artist Management prior to joining the label. Show Dog picked Kettelhut up fresh out of college and right after her internship at TKO. For additional information on this appointment, contact elaine@shockink.com or contact Katie directly at katie.kettelhut@showdogmail.com.

Education Consultant SABIAN

Product Marketing Manager Casio America, Inc.

Sales Rep, Nashville Vintage King Audio

Exec VP, Global Catalogue Recordings BMG

Chief Executive Officer Fender Musical Instruments Corporation

President SPARS

Chariman & CEO Sony Music, Nashville

Promotion Coordinator Show Dog Nashville

August 2015

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– BARRY RUDOLPH barry@barryrudolph.com – BARRY RUDOLPH barry@barryrudolph.com

SUPERINTERACTIVE’S STOMP PAD Stomp Pad is a thin, pliable e-textile sensor pad about the size of a computer mouse pad. It’s made from lightweight EVA foam covered with a conductive e-stripe polyester fabric. By wearing an elastic conductive sleeve over the sole of your shoe or sticking on one of the included rubber pads, you can tap your foot on it to: tap-the-beat, tap-on-tap-off loops or tapand-hold loops via MIDI controller messages sent over a permanently connected 1-meter USB cable.

Connect Apple Camera Connection Kit and, with Apple Core MIDI devices running programs like IK Multimedia’s SampleTank or GarageBand, you have hands-free, basic operation of these iOS programs.

I tried out Stomp Pad with GarageBand on my iPhone 6 and was amazed at how sensitive and quickly it responds to gentle toe tapping. It is super flexible and basically non-destructible—you could toss it on the floor or attach it to your guitar pedal board for controlling iOS guitar effects and amp simulations and then easily pack it away into your gig bag—it weighs nothing.

Perfect for solo musicians looking for a low profile method to trigger hands-free various rhythmic accompaniments. Superinteractive’s Stomp Pad is available from $149 MSRP. superinteractive.com.au/stomp-pad

STEINBERG CUBASE PRO 8 Besides an included virtual bass amp and new dynamic processors, Cubase Pro 8 brings many useful enhancements including VCA faders for simultaneous control of multiple faders without affecting their routing—automation written to each of the independent faders can be trimmed globally from a single VCA fader.

Render-in-place, another big user request, is now included with Cubase Pro 8. You can bounce MIDI instruments and audio to disk and it will appear on a new track directly adjacent and below the original in the Arrange page. You also have the option to render the selected region(s): dry, with inserted effects, with insert effects and send effects and/or with the entire path including output channel settings. Great workflow improvement for consolidating tracks destined for exportation to other DAWs. For Windows PC users, you will find improved GUI window handling—windows now size automatically to full screen easily, and the search bar finds output routing of MIDI tracks. Another timesaver is the Plug-in Manager that’s useful for grouping and arranging your plug-in collection.

Cubase 8 has undergone a massive engine redesign/rebuild with projects now loading four times faster with significantly lower CPU usage. The full version of Cubase Pro 8 sells for $549.99 and upgrade from 7.5 is $99.99. steinberg.net/en

AERODRUMS MOTION CAPTURE DRUM KIT I got a set of Aerodrums—it came in a box the size of a QWERTY keyboard. Aerodrums uses 3-D motion-capture technology to create a virtual drum set.

Aerodrums works by watching your drumming gestures and tracking four highly reflective markers on drumsticks and foot reflectors. The kit comes with protective eyewear to wear while “bathed” in the light from the included LED lamp. The lamp snaps on around the lens of a (not included) Sony™ PlayStation 3 Eye camera ($7.95 at Amazon). Depending on the included drum kit selected, you’ll get a kick drum, hi-hat, snare, side-snare and up to three toms plus crashes and ride cymbals in defined locations in the virtual space in front of you.

Playing Aerodrums is different than a real kit. You’re striking drums in mid-air with sticks that have a different balance due to their reflective tips and there is no tactile rebound as with real drumheads. Latency is low—as instant as hitting a drum pad or programming drums on a keyboard or drum machine—but this is a lot more fun. In addition to the built-in sounds, you can send CoreMIDI signals to trigger your own samples.

I’m not a drummer, but I found Aerodrums useful for programming drums, overdubbing drum fills, percussion bits or just firing sound effects. This is only the start of this wonderful nascent product, and I look forward to updates as they become available.

Aerodrums retails for $199 and are available at Amazon.com. aerodrums.com/aerodrums-product-page

SHEPTONE 6T8 HUMBUCKER The Sheptone 6T8 humbucker set is designed for hollow or semi-hollow body guitars.

The set provides a clear but slightly grittier T-Top tone, or a livelier tone when installed in solid body guitars.

The 6T8 set uses a long rough cast Alnico 5 magnet and winds #42 poly wire on butyrate bobbins. The neck pickup averages 7.4k-ohms DC resistance while the bridge pickup averages 7.8k-ohms.

Sheptone’s Jeff Shepherd says his pickups are “transparent and allow the primary tones of the wood to come through.” Customers include well-respected musicians such as: Keith Scott (Bryan Adams), Danny Kortchmar, John Norum, Al Di Meola, Brian Kahanek, Shawn Tubbs (Carrie Underwood) and Keith Nelson (Buckcherry).

The 6T8 sets sell for $19. sheptone.com

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– BARRY RUDOLPH barry@barryrudolph.com – BARRY RUDOLPH barry@barryrudolph.com

TECH 21 BOOST COMP COMPRESSOR The Boost COMP Compressor is all about the best signal chain order for the best tone.

The Presence control provides pre-compression tonal boost to achieve high-end string attack and clarity. The Tone control uses post-compression, cut or boost, for generating mellow lush tones without getting too dark.

Boost COMP utilizes old school, all-analog, Field Effect Transistor (FET) circuit design— FETs came in the ‘60s and promised the sonic characteristics of tubes in a solid-state device. So like tubes used for musical amplification, FETs tend to be inherently warmer and more transparent.

Boost COMP has up to 21dB of clean boost to increase the output level without adding more compression. A true post-boost, this function can also be used independently as well.

Other features include: 1/4-inch high-impedance input and low impedance output, silentswitching and custom footswitch actuators. Operable with 9V battery (not included) or optional DC power supply, Tech 21 Boost COMP sells for $195 MSRP. tech21nyc.com

RTW MASTERCLASS SERIES RTW has its Masterclass plug-ins series— software versions of the RTW-TouchMonitor hardware units. Masterclass Series come in standard plug-in formats for Win/Mac systems and display audio levels and loudness range for mono, stereo, multi-channel and surround (up to 8-channels) audio with up to 96 kHz sample rates.

These tools are divided into two suites: RTW Mastering Tools and RTW Loudness Tools.

Both allow for detailed customization of the set of tools used: you can set their individual size, number and layout within the plug-in window itself.

The RTW Mastering Tools ($999) features up to 8-ch. PPM, True Peak and Loudness measurement, surround sound analyzer, a multi-function correlator, 61-band RTA, 2/4-channel vector scope, SPL view and bar graph metering.

The RTW Loudness Tools ($450) focuses on achieving a target loudness range with selectable TV loudness standards such as ITU 1770-3, ITU 1771-2, EBU R 128, OP-59, ARIB, ATSC A/85, CALM, AGCOM, Trailer (TASA-85) and Commercial (SAWA-82) A “must have” for complying, the RTW Masterclass Series is ready for all DAW systems used on- or offline in broadcast, film re-recording and music production. rtw.com/en/products/software.html

BLUE MICROPHONES BOTTLE ROCKET MIC LOCKER An idea well overdue! The Bottle Rocket Mic Locker has a Bottle Rocket Stage One mic body along with four, interchangeable capsules or Bottle Caps all housed in a road-ready SKB® hard-shell case.

The Bottle Rocket Stage One is a solid-state Class-A condenser microphone body and, by quickly hot-swapping the Caps, you can audition and pick just the right sound for your voice. Mute the channel, change the Cap, and you’ve got another totally different mic sound instantly. This works great for layering vocals—especially when you overdub and ‘track’ the same singer over and over.

The Bottle Rocket Mic Locker includes four Bottle Caps: the B0 Bottle Cap for silky, extended presence, the B6 Bottle Cap for classic warmth and larger than life sound, the B7 Bottle Cap with vintage detailed midrange with airy presence and the B8 Bottle Cap said to have crystal-clear sound with incredible detail.

Complete with microphone, four capsules, shock mount and SKB case, the Bottle Rocket Mic Locker sells for $1,699.99 MSRP and is like having four different studio condensers. bluemic.com/miclocker

JENSEN VINTAGE REISSUE SPEAKERS Jensen® Musical Instrument Speakers adds the P6V and C6V speakers to their Vintage Series speakers. Both new speakers are 6-inches in diameter and rated at 20-watts each. The P6V features an Alnico magnet and has warm, clean tone with sparkling highs; it responds to overdrive distortion with a gritty bite.

The C6V is extremely versatile, clean and firm sounding with a top-end chime. It features a ceramic magnet and remains strong and articulate with overdrive distortion. Both speakers are available in 4 and 8-ohm impedances.

Jensen Vintage reissue speakers have the classic look and vintage tone of the original Jensen speakers of the ‘50s and the ‘60s. jensentone.com BARRY RUDOLPH is a recording engineer/mixer who has worked on over 30 gold and platinum records. He has recorded and/or mixed Lynyrd Skynyrd, Hall & Oates, Pat Benatar, Rod Stewart, the Corrs and more. Barry has his own futuristic music mixing facility and loves teaching audio engineering at Musician’s Institute, Hollywood, CA. He is a lifetime Grammy-voting member of NARAS and a contributing editor for Mix Magazine. barryrudolph.com

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BOOK B OOKSST TORE OR E MyPower Kid Brother’s Music 4.0: A Survival Guide for Kurt Cobain: Montage of Heck Tools forBand Synthesizer The Beatles!The Ultimate

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By Louise Harrison (hardcover) $35.00 By Bobby Owsinski Reference (hardcover) $27.00 for Sound Design: (paperback) $24.99 Kurt Cobain: Montage of Heck tells the story Second Edition of the by legendary singer, guitarist and George Harrison’s older sister Louise HarWritten industry lead expert and Music Connec-

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With lotsthis of interviews the untold story of up Fortner in Byshares Jim Aikin; Foreward bygrowing Stephen tion contributor Bobby Owsinski, complete- rison copiously illustrated with original artwork the(paperback) Harrison household $29.99 and her efforts to help lyand updated edition features brand-new interand family photos, the book accompanies pave the way for views from several music industry innovators,the Aikin’s book is for anyone who makes uniquely insightThe Beatles toelectronic come revealing new and proven pathways to success music. It explains what is going on “under the ful documento America, long in the current hood” of synthesizers and explores new trends tary by filmmaker before anyone in the music world. Topics and technology. There are on they oscillaBrett U.S.chapters knew who include: theMorgen, impact tors, filters, envelope airing on HBO, were.

Features acof music streaming; LFOs, efdelving further tual generators, correspondence internet marketing fects manager and digital audio into the material between and distribution; soEpstein you canand get the for the Brian how tocreated make money most out of your into present an producer George when film listeners struments.

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Once More With Feeling Exercises in African-American Funk: Mangambe, Bikutsi, and the Shuffle Known for her Singers Bootcamps, Linder-

The Guitar Amp Handbook: Understanding Tube Amplifiers and Getting GreatAnSounds Crate Digger: Obsession By Jonathan andread Steve Rucker Koda’s bookJoseph is an easy that’s filled with

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14 August 2015 musicconnection.com musicconnection.com musicconnection.com 51 Maymusicconnection.com 2015 49 49 January 2015 June 2015 musicconnection.com 55 47 March July 2015 musicconnection.com January 2015 47 31 April musicconnection.com

Jonathan Joseph (Jeff Beck, Joss Stone, RichBy Bob Suren help any perThe majority of guitar players lack sufficient ard Bona) and U. of Miami director of drumset (paperback) $14.95 former bring up knowledge about how the amp affects their studies Steve Rucker his or her game. It tone.

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Topics punk years of collecting that applies West your emotions and include: how tube rock records led him African rhythms leave your audiamps work; choose through.

His anecdotes to various genres. ence begging for an amptotolife getthe theAmeribring Fusing together the more.” Available tone want; can you punk scene in its American shuffle and with a DVD at anhow speakers prime.

Partly and a record shuffle-funk with the geldivamusic.com. cabinets affect guide, it’s alsoyour an honAfrican mangambr sound; profiles of of how est recollection and bikutsi rhythms, celebrated amps; get his teenage passion Joseph introduces abecame great sound live and his career readers to exercises that will strengthen their and in studio; lifestyle that and translated groove, allow them to master the 3:4 polyBy Various how to build a Class into love and loss in his rhythm, increase their rhythmic awareness and (paperback) $14.95 Apersonal amp at home. life. introduce musicians to a fresh new way to hear Focusing on individual albums by artists rangand feel music. ing from James Brown to Celine Dion and from J Dilla to Neutral Milk Hotel, each volume in the series provides a platform for authors to By Loren aWeisman explore piece of music. The latest titles are By Robert Willey Devo’s Freedom (paperback) $24.99 of Choice, which traces the (paperback) $29.99

By Bob Mersereau; Foreward by Neil Peart story of Ohio boys through decades of hits, Music business speaker and advisor Loren Willey’s book is$24.99 aimed at those who produce (paperback) misses, fans and record industry struggles; Weisman shows how to achieve and sustain music at home. An ideal textbook for teachers; Fresh Fruit for From the can ‘50sbe to today, Mersereau details a career in today’s music business. Written in used by schools on the ToRotting Vegeta- 10 chapters ronto’s club scene, theadditional folk rock and psychedelic the popular For Dummies format, this guide system, with five chapters for bles analyzes thequarter rock of the ‘60s, the challenges and reform discusses: how to make a business plan to get quizzes, activi-of the politics behind the semester system. Includes Canadian broadcasting noticed by investors, ties for all levels and great American system, mix the huge music professionals, complex ses- hits of punk band, Dead the ‘70s, pop charts’ studio executives, sions.

The‘90s illustraKennedys; and Canadian artists and and sponsors; the tions are built around Koji Kondo’s Canada’s indie-rock reimportance of copyStudio One from Super Mario naissancehowever, of the 2000s. rights and licenses; Presonus; Bros. Soundtrack He highlightsconpopular optimizing your webfundamental traces how one Canadian artists such as site and social media cepts and techniques Japanese comNeil Young, Joni Mitchell, presence; how to transfer seamlessly poser changed Tegan and Sara and Alamake the most out of to any modern DAW, video game nis Morissette as well as touring and performsuch as Logic and music forever with Canadian ing and much more.

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August 2015

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– JONATHAN WIDRAN

F-PEDALS f-pedals.com

The Joining of Two Great Musical Forces: As founder of the growing L.A.-based company F-Pedals, Francesco Sondelli’s mission is to inspire musicians to continue making great music by expanding their soundscape. Above all else, the Naples, Italy born musician and entrepreneur aims to keep his prices fair. Sondelli moved to the U.S. with his Italian bandmates Mario Pagliarulo and Roberto Zincone. Their band The Petalstones featured lead vocals by actress Malin Akerman. Later on during his solo career, Sondelli crossed paths with Eddie Kramer, who has engineered and/or produced legends including Jimi Hendrix, Led Zeppelin, The Beatles, The Rolling Stones and more. In 2005, Kramer produced Sondelli’s album Disordinary, and the common passion in making music and food bonded them as close friends ever since. Kramer teamed up with F-Pedals to create the company’s first line of their Legends Series.

FRANCESCO SONDELLI The Eddie Kramer Line and Beyond: This line, currently including Edstortion™ and PhazeVibe™ pedals, features ultra compact purely analog pedals inspired by the legendary engineer and producer’s world renowned works over the past 50 years. It is the result of countless hours taking samples of Kramer’s best works, working with engineers around the world to approximate his signature sound. The PhazeVibe is a cross between a phaser, auto-wha and univibe—it’s all and none of them at the same time. The Edstortion is a classic analog distortion pedal. Sondelli suggests users to try the pedals to enhance the sound on different instruments including guitars, drums, vocals, keyboards and bass. F-Pedals will soon roll out four new pedals: RobotHolic™, EchoBandit™, Tremelon™ and DarkLight™, all of which will remain analog and compact sized.

Wireless Power System: At the Winter NAMM Show 2014, F-Pedals introduced the first ever wireless power system to the world of guitar pedals. The F-Power™ system was inspired by one of the most respected scientists of all time, Nikola Tesla. It allows users to run F-Pedals without any power supplies or any batteries inside the pedals by using F-Board™. F-Pedals can be used with a conventional power supply for a seamless integration with the user’s existing set-up.

Contact F-Pedals, 310-467-3308 16 August 2015

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The Indie Artist â&#x20AC;&#x153;Music Connection provides a rolodex of information to help your career go to the next level. New artists reviewed in the magazine can see how they rank against others, as well as see the breakdown of your personal scores and what you need to work on. There are many reasons why Music Connection is the best. Just Read It!â&#x20AC;? â&#x20AC;&#x201C; Darrion â&#x20AC;&#x153;Skitsoâ&#x20AC;? Scoggins

The Rock Legend â&#x20AC;&#x153;Had it not been for MC, our story may not have reached the thousands of eyes it did. We owe a great deal of our early success to MC for giving us the chance to be seen and heard.â&#x20AC;? n $AVE .AVARRO s *ANE S !DDICTION

The Producer/Studio Owner

â&#x20AC;&#x153;Music Connection is the essential source of information to the entire music SCENE ) VE BEEN ADVERTISING MY BUSINESS THERE FOR YEARS 4HAT SPEAKS FOR ITSELF how I feel about Music Connection.â&#x20AC;? n 3KIP 3AYLOR s PRODUCER OWNER

Skip Saylor Recording

The Studio/Label Owner

â&#x20AC;&#x153;MC is a perfect blend of art and business, education and invaluable resources.

4HE MOST REFRESHING BIRD S EYE VIEW OF THE INDUSTRY FOR THOSE WAITING IN LINE FOR THE party and those who are already inside.â&#x20AC;? n -ATTY !MENDOLA s 2ECORDS

The Educator

â&#x20AC;&#x153;Music Connection magazine is my barometer for staying on top of industry trends. My students receive invaluable feedback through the New Music Critiques AND 2EVIEWS !LSO THE NATIONAL $IRECTORIES ARE A GREAT RESOURCE 4HE LATEST ISSUE of Music Connection magazine has a permanent home in my teaching studio!â&#x20AC;? n #HRIS 3AMPSON s 6ICE $EAN FOR #ONTEMPORARY -USIC

USC Thornton School of Music

The Grammy Giver

h&ROM THE TIME ) ARRIVED IN , !

AND AS A YOUNG MUSIC INDUSTRY EXECUTIVE -USIC Connection was always a source of valuable information and news. Thirty-five YEARS LATER IT S STILL ON MY REGULAR READING LIST v n .EIL 0ORTNOW s 0RESIDENT #%/ 4HE 2ECORDING !CADEMY

Young Bones in Boston DAVID GOGGIN

Hip-Hop, rock & roll duo Matty Carter and Ariel recorded their next album Young Bones at award-winning audio and visual production company Surefire Creative Studios based outside of Boston, MA. The album, slated for Sept.

15, was produced by Jared Hancock and Mike Cassavant and engineered by Shawn Caliber. Pictured (l-r): Ariel and Matty Carter. For more information, visit mattycarterandariel.com.

United Recording Creates Top-Spot Taylor Album

DAVID O’DONOHUE

James Taylor’s Before This World is his 17th full-length album and the first to hit the top spot on the Billboard 200 in his more than four-decade career. The album, produced and engineered by Dave O’Donnell, began with tracking at Taylor’s private studio in Massachusetts and was worked on at United Recording in Hollywood. Pictured (l-r): Taylor, assistant engineer Scott Moore and producer/engineer O’Donnell. For more, visit unitedrecordingstudios.com.

You’re Better Off in the Studio Nashville native rock band, Better Off, will release their next full-length album, Milk, on Sept. 11 on Equal Vision Records. The band recorded at Glow in the Dark Studios in Atlanta, GA and worked with producers Matt McClellan and Arun Bali. Pictured (l-r): Luke Granered, vocals; Jon Dalman, bass; Charles Miller, drums; Bali; Hunter Walls, guitar; and McClellan. For more information, visit bttroff.com.

Brand New Album from Gus G Los Angeles-based engineer Maor Appelbaum mastered Gus G’s second solo album Brand New Revolution at his facility Maor Appelbaum Mastering. The album was produced by Gus G, recorded by Jay Ruston and mixed by Mike Fraser.

Known for being Ozzy Ozbourne’s guitar player for the past six years and going, Gus G is also a member of the heavy metal band Firewind. Pictured (l-r): Gus G and Appelbaum. For more information, visit maorappelbaum.com.

Producer Playback “Together we create this intense relationship that’s based on trust.

I’m not afraid to tell them that [a take or a song] could be better.

I don’t care that they’re rock stars.” – Nick Raskulinecz (The Hold Steady, Foo Fighters, Sleeping With Sirens) 18 18

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–SIRI SVAY siri@musicconnection.com

Reasons Be Come The Long Way

JONATHUAN LUU

Los Angeles-based band, Reasons Be, collaborated with award-winning producer Mikal Blue at his Revolver Recordings Studio in Thousand Oaks, CA to produce music for the upcoming indie film The Long Way due late 2015. Pictured (l-r): Sonny Kennelly, Scotty Dickert, Blue, Luis Briones and Ariel Belkin.

For more information on the band, visit reasonsbe.com.

Ocean Way Audio Alliance Ocean Way Audio has announced an alliance for the creation of new products and technologies. Company founder Allen Sides and OWA President Rick Plushner will work with new OWA Director of New Technology, Cliff Henricksen, to expand Ocean Way’s range of premium speaker systems, as well as work to create a line of market-driven professional outboard audio equipment.

Pictured is Sides with the RM1 Active Ribbon Microphone from the “Cliff Mics” brand developed by Henricksen. For more information, visit cliffmics.com.

Congrats Legacy Recordings!

At Battery Studios, The Recording Academy Producers and Engineers Wing issued a special Certificate of Merit to Legacy Recordings, acknowledging its excellence in producing and archiving digitally remastered titles, on a continuing basis, for more than 25 years. Pictured (l-r): Maureen Droney, The Recording Academy, and Adam Block, President of Legacy Recordings.

Crowned Best Store Design The global association for the music products industry, the National Association of Music Merchants, honored Vintage King Audio at Summer NAMM for Best Store Design for both store locations in Los Angeles and Nashville. The award was presented by CMT radio & TV host Cody Alan to Tom Menrath, Director of Strategic Development at Vintage King. Pictured (l-r): Alan and Menrath. For more information, visit vintageking.com.

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PRODUCER CROSSTALK

n 2/" 054.!-

JUSTIN COLLINS

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roducer, musician and songwriter Justin Collins works almost exclusively from his all-analog Nashville studio Playground Sound with partner Adam Landry. He studied audio engineering in college and got into production almost by accident when he was contactedâ&#x20AC;&#x201D;via Myspaceâ&#x20AC;&#x201D;by then-rising artist Nikki Lane. She asked him to help produce her first record. Through Lane, Collins connected with Pete Molinari, signed to Partisan Records at the time. The label liked the work he and Landry turned in and gave them more projects. Heâ&#x20AC;&#x2122;s since written/produced for bands including Deer Tick, Diamond Rugs and Middle Brother.

Collins sometimes prefers to avoid pre-production, largely because he feels that music thatâ&#x20AC;&#x2122;s cooked for too long tends to lose flavor. â&#x20AC;&#x153;Your first natural instincts when it comes to recording are always best,â&#x20AC;? the producer asserts. â&#x20AC;&#x153;There have been times where itâ&#x20AC;&#x2122;s happened and in hindsight it was a good thing. But generally, Iâ&#x20AC;&#x2122;m spontaneous, off-the-cuff in the studio. It depends on what style of album youâ&#x20AC;&#x2122;re making, though. Most rock & roll records need to be made spontaneously. However, Deer Tickâ&#x20AC;&#x2122;s new record will take about a year to complete, so thatâ&#x20AC;&#x2122;s a case where preThe three most important production will need to happen.â&#x20AC;? things heâ&#x20AC;&#x2122;s learned as a The song â&#x20AC;&#x153;Totally Lonelyâ&#x20AC;? that producer are: Collins wrote for Diamond Rugs was name-checked on NPRâ&#x20AC;&#x2122;s syndicated s 4HE SONG IS ALWAYS THE BOSS radio show Fresh Air in 2012. Loyal )T S A LIVING BEING 9OU HAVE TO to his minimalist approach, it was LET IT DO ITS THING AND RUN ITS recorded in his house on a four-track COURSE 9OU CAN T FORCE IT )F IT S recorder. â&#x20AC;&#x153;I wrote that song thinking NOT THERE IT S NOT THERE that maybe the guys would want to do it for their record,â&#x20AC;? he recalls. â&#x20AC;&#x153;When s 4RUST YOUR INSTINCTS I played it for them, [Diamond Rugsâ&#x20AC;&#x2122;] John [McCauley] said, â&#x20AC;&#x2DC;Whatâ&#x20AC;&#x2122;s the s (AVE FUN 4HAT S PROBABLY THE point of re-recording it? Weâ&#x20AC;&#x2122;ll just put it MOST IMPORTANT THING )F VIBES on as is.â&#x20AC;&#x2122; I didnâ&#x20AC;&#x2122;t know that it was goAREN T GOOD THAT GETS TRANSLATED ing to be on NPR. I was driving when I heard it. But Iâ&#x20AC;&#x2122;m not sure that being on the radio has helped my production career. Most bands I work with donâ&#x20AC;&#x2122;t know I wrote it, so itâ&#x20AC;&#x2122;s kind of a weird situation.â&#x20AC;?

Playground Sound is an all-analog studio. Why so, in this easier age of Pro Tools where sounds can be controlled with precision down to the millisecond? â&#x20AC;&#x153;I like the sound and simplicity,â&#x20AC;? Collins explains. â&#x20AC;&#x153;We use an eight-track machine, which imposes many limitations that otherwise wouldnâ&#x20AC;&#x2122;t happen. It forces you to make decisions in the moment. We bus all the drums down to one trackâ&#x20AC;&#x201D;mono drums. It keeps things raw and alive and it has the little flaws that, over time, end up being your favorite things. The less you do, the better off youâ&#x20AC;&#x2122;ll be and the bigger itâ&#x20AC;&#x2122;ll sound.â&#x20AC;?

Another reason that Collins isnâ&#x20AC;&#x2122;t a fan of digital recording is because it can lead to over-analysis. â&#x20AC;&#x153;I hate looking at music,â&#x20AC;? he says. â&#x20AC;&#x153;The more you look at the sound waves, the less you hear them. Computer screens in a studio drive me crazy. It causes you to dissect what youâ&#x20AC;&#x2122;re looking at and not what youâ&#x20AC;&#x2122;re hearing. People do so much cleaning when theyâ&#x20AC;&#x2122;re looking at a song and kill it, which makes things sterile. Remember what [Neil Young producer] David Briggs used to say: â&#x20AC;&#x2DC;If you think, you stink.â&#x20AC;&#x2122;â&#x20AC;?

His favorite piece of studio gear is his TEAC quarter-inch reel-to-reel tape machine. He deploys it regularly for tape delay slapback, particularly with drums. â&#x20AC;&#x153;Thatâ&#x20AC;&#x2122;s an analog effect that we call â&#x20AC;&#x2DC;babydoll,â&#x20AC;&#x2122;â&#x20AC;? he explains. â&#x20AC;&#x153;I use it on almost everything.â&#x20AC;?

Collinsâ&#x20AC;&#x2122; EP Home, Boy dropped last September. True to form, he recorded it at his home using a four-track recorder. He aims to release the full-length album Schooly Dreams with his band Justin & The Cosmics sometime this summer. The issue will likely come by way of Cosmic Thug Records, a label that he plans to launch with Landry.

Contact Rishon Blumberg - Brick Wall Management, rishon@brickwallmanagement.com

20

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139

TH

AUDIO ENGINEERING SOCIETY INTERNATIONAL CONVENTION

NEW YORK CITY, NEW YORK J ACOB J AVITS C ENTER CONFERENCE: OCT 29 – NOV 1, 2015 EXHIBITS: OCT 30 – NOV 1, 2015

If It’s About LIVE SOUND, It’s At AES139!

LIVE SOUND EXPO comes to New York City this fall at the 139th AES Convention.

Whether you are in the hot seat as FOH engineer mixing to a crowd of thousands, in an intimate local club mixing your favorite band, or handling the audio for a house-of-worship facility, the upcoming AES139 Convention in New York City is your one source for all things audio.

With three days of exhibits, the Live Sound Track, and the Live Sound Expo, plus four days of workshops, technical papers and program content tailored to the current audio and communications landscape, once again, the AES Convention will be THE audio event of the year and cannot be missed.

Our Live Sound Expo at the 139th Convention offers expert advice for the broad spectrum of live sound engineers (some 25% of Convention attendees) with an emphasis on the practical, bringing professionals with decades of experience to the stage to inspire and educate attendees.

AES139 Live Sound Expo itinerary and areas of focus:

, Friday, October 30 – Broadway/Theater , Saturday, October 31 – Worship & Install , Sunday, November 1 – Touring Admission to the Live Sound Expo is included with your FREE Exhibits-Plus advance registration.

The Live Sound Expo sponsors are:

For AES sponsor opportunities contact Graham Kirk: graham.kirk@aes.org

If It’s About AUDIO, It’s At AES! For more information visit our website at:

Photo courtesy of Christian Heilman

www.aes.org/events/139/registration August 2015

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– ANDY KAUFMANN Diversity as Niche There seems to be an overabundance of festivals in America, but there aren’t many festivals like us that hit all genres.

There are country festivals, indie, EDM and even oldies. But there’s not one like us that, on any given day, combines all genres at the same time. If somebody’s looking at doing an event, I suggest they do it our way, because there are people who want to see different styles.

Bob Babisch VP of Entertainment Summerfest

Years with Company: 38 Address: 639 East Polk St., Milwaukee, WI 53202 Phone: 414-273-2680 Web: summerfest.com Email: bbabisch@summerfest.com Clients: Bruno Mars, Lady Gaga, Pearl Jam, Zac Brown Band, Kenny Chesney, No Doubt, Kanye West, Tom Petty, Tina Turner, Jimmy Buffet, Dave Matthews.

BACKGROUND Boasting between 800,000 and 1 million visitors a year, Summerfest is the biggest annual festival in the world, with 11 straight days of music. Started in 1968, Bob Babisch joined 10 years later and has been deciding which artists play the Milwaukee-based shindig ever since.

This year, they’re incorporating live video streaming and offering The Rolling Stones as their kickoff headliner.

“We’re always looking for new stuff. That’s the excitement: to find somebody new and help them with their career.”

Falling Into Music I was in college in 1971, ’72, and got a part-time job at a record store called 1812 Overture. I’d been at the store for two days and the guy who was the runner for their promoting company, his car broke down. They said, “Would you like to be the runner tonight?”

I jumped at the chance. It was with Sha Na Na. I did all the backstage stuff and started working part-time on the concert side.

Eventually, I moved to a company in Milwaukee called the Edgewood Agency that did classical music, ballet companies and more. And then the people who were running Summerfest, this must have been ’77, were leaving to start ChicagoFest. They said, “We don’t have anybody to do the music at Summerfest.” I’ve been here since. It was luck.

Well Grounded Summerfest has been around for 48 years. It’s on an ex-missile site in downtown Milwaukee, on Lake Michigan. 80 acres and 11 stages. We can put over 100,000 people on the grounds and it’s comfortable. We’ve got 23,000 seats at the Marcus Amphitheater on one end, and next to that we have the brand new BMO Harris Pavilion, with 5,000 seats under cover and some room above that. It goes all the way down to a smaller facility for up to 1,000 people. We keep rebuilding and remodeling.

Something For Everyone One of the charms of our festival is we are multi-genre. There’s always something you’re going to like. There are probably seven or eight different formats going every single night.

The amphitheater is a hard ticket show, which means you have to buy a separate ticket, but that includes anything on the grounds and all the grounds’ stages have national acts every night.

For the People It costs $19 a ticket, so it’s a bargain. We survive on sponsorships and ancillaries. We’re a 501(c)3 not-for-profit event—the people’s festival. People in Milwaukee talk about their Summerfest. We try to keep it that way, 22 August 2015

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Logistics We use our own sound and lights, and our stage manager gets people moving.

Each stage is running five bands a day, including a national headliner in the evening. It gets crazy to make it all work, but we manage to pull it off. Take opening day. Florida Georgia Line in the amphitheater, Sheryl Crow headlining one stage, Trombone Shorty headlining another, Kaskade another, Mavis Staples another, Bastille another, Magic! another, Dirty Heads another. That’s just nighttime headliners and doesn’t count bands we’ve billed starting at noon. Logistically, it’s crazy. You get it up, get it done, tear it out and do it again the next day, for 11 days.

Bands understand the situation we’re in. We’ve got amps, a drum kit on every stage to make life easier for everybody.

As far as video screens, that gets tougher for us, except the amphitheater. That’s a separate animal, because that’s a hard ticket show.

Whatever the band brings in, we’ll put up.

because we want everybody to come. There are half-price tickets during the day and ways to get in free—Stop Hunger Day or Children’s Day. You can get in here free if you try hard enough.

Setting the Stage We start the process every year in July. We put a grid up on the wall. There are three of us in booking, looking at the 60 or 70 bands we’d like to have. Then we put offers out to agents— basically fishing. Gradually, that’s sifted down— they’re going to Europe or playing a festival like Lollapalooza. We understand those situations.

We get as many of those bands as we can. You don’t want to have the same format every night, so you move things around. At the same time, you’re putting shows into the amphitheater. That process starts the year before. During last year’s Summerfest, we already had three acts on hold for this year.

Once we get the acts we want, we find out who the agents are routing and try to get those acts.

When you do as many days as we do, you have to take up all the inventory available. If it gets tight after that, we start the begging process.

We have a deal with Reverbnation where [artists] submit music to us. If they don’t want to do that, they can send to our office.

We’re always looking for new stuff. That’s the excitement: to find somebody new and help them with their career.

Competition You’ve got a window of 11 days. That’s a ton of music, and finding enough bands to fill the slots is tougher every year. There are so many events going on right now in the Midwest.

You’ve only got four months of decent weather and you have to pack a lot of living in that time period. There are festivals during our time, so we have competition for acts we want.

Right before our festival, bands going to Europe head over there, because Glastonbury starts during our time. Then there’s a run of European festivals that last for months. So if you’re going to Europe, we’re going to lose you.

Video Helps the Radio Star More people are expecting video, especially in big spaces. They want a better view of their shows, so we’re providing that on the grounds.

We have video on almost all the stages.

Money Matters The money that comes into the festival goes into remodeling the grounds and putting it away in case of rainy days so we can continue the next year. We pay the city rent. Then we act as the landlord for ethnic festivals that come in the rest of the summer. These ethnic organizations do their own, self-sufficient events for their communities with the money they make.

Teaching We give money to music-dominated school groups, and we also do a band camp every year. We invite high school jazz ensembles for a free day, usually in September. The only thing the school has to provide is the buses.

They learn about their instrument and craft and there’s a jam session in the afternoon. The kids love it; they get to be on these stages and play.

The Best Part When you’re on the side of a stage, the lights go down and people scream. Knowing you helped bring that moment to the audience, that’s the gratification. That’s why we do it. It’s second only to being the person on stage playing.

Vibe Everybody tells us that, when they play here, the audiences are crazy. It’s the most fun.

That’s the difference between somebody paying $100 and saying, “Show me what you’ve got,” to the artist or somebody paying less and saying, “I’m going to have the time of my life tonight.”

– BERNARD BAUR

OPPS

The 12th Annual International Acoustic Music Awards (IAMA) is accepting submissions from artists of all genres. IAMA honors up-and-coming artists. It promotes excellence in acoustic music performance and artistry, and gears towards today’s best up-andcoming musical acts. Acoustic artists in a variety of genres can garner radio promotion and web exposure, as well as possibly winning $11,000 worth of prizes.

Judging is based on excellence in performance, songwriting, composition, song choice, production and original artistry.

You can enter in eight different categories: Best Male Artist, Best Female Artist, Best Group, Folk, Alternative, AOG (Open Category), etc. A panel of established artists and industry professionals select the finalists. Cover songs are permitted. The deadline to enter is Nov. 6. Visit inacoustic.com or facebook.com/inacoustic.

Tommy Boy Entertainment is seeking producers and artists who produce their own music and are on the rise. The label is specifically interested in listening to finished demos from active hip-hop, urban, dance, R&B and reggae artists. Submit your best material at tommyboy.com.

Streaming links preferred. Please do not send MP3 download links.

Women of Substance (WOS) Radio is seeking female-fronted acts that can make cover songs their own. WOS celebrates talented female performers of every genre with great songs.

WOS Radio has been around for six years as a 24/7 Internet Radio Station available on the web and mobile devices. The station is currently looking for versions of songs that were already hits for other artists (old or current).

The “Cover Series” includes the following eras: 2000s, ‘90s, ‘80s, ‘70s, ‘60s and ‘50s, Standards. To submit a song, visit wosradio.com.

Producer-engineer Louis Magnotti (Eminem, 50 Cent, Madonna, Justin Timberlake) is currently searching for new artists and songwriters to be signed to an exclusive production and development deal. This deal includes: co-writing sessions, records tracked, mixed and mastered (free of charge), vocal coaching and music training, along with a full-time staff of marketers for promotion and major placement opportunities.

If selected, artists will share revenue splits from scheduled live performances, radio, streaming spins and digital sales. For details visit kingliv.com. KING LIV Productions is not a record label; but will assist in the foundation and early development of new artists.

For timely Opportunities and news, be sure to check out MC’s home page each day at musicconnection.com!

JOSHUA WEESNER

G-Unit Records is looking for artists, producers and songwriters. They will be signing and releasing new acts this year.

G-Unit specializes in hip-hop and gangster rap, while their subsidiary label G-Note specializes in pop,

dance and R&B artists. They are open to almost any genre. “If it’s a hit, we want to hear it.” Go to thisis50.com/group/gunitrecords.

VAN HALEN JUMPS WITH DIAMOND DAVE Van Halen’s “Live on Tour” hit the San Manuel Amphitheater in San Bernardino, CA in support of their latest album Tokyo Dome Live in Concert.

The tour series will last for several more months, ending with two nights at the Hollywood Bowl. Lead vocalist David Lee Roth hasn’t lost a step in the showmanship department, while bandleader Eddie continues to display why he’s one of the most dazzling guitarists of all time. Alex Van Halen remains on drums with Wolfgang Van Halen (Eddie’s son) on bass. The show is filled with over two hours of hits that span the band’s career (almost 27 years). Visit van-halen.com for tour dates and more.

SWIFT TAKES HOME FOUR PLAQUES Before singer/songwriter Taylor Swift took the stage at MetLife Stadium on The 1989 World Tour, she was honored for numerous chart accolades by her record label President/CEO Scott Borchetta of Big Machine Records. The critically acclaimed 1989 has produced four No. 1 hit singles on the Billboard Radio Airplay charts for songs “Shake It Off,” “Blank Space,” “Style” and “Bad Blood.” Pictured (l-r): BMLG’s David Nathan, Republic Records’ Monte Lipman, BMLG’s Scott Borchetta, Swift, Republic Records’ Charlie Walk and Republic Records’ Gary Spangler. For more, visit TaylorSwift.com.

BuzzAngle Music has revolutionized sales and streaming measurement with interactive Daily Charts.

“Whether you’re a band, label executive, journalist or just a music lover, BuzzAngle Music’s new daily charts provide an exorbitant amount of data to analyze and enjoy,” says Jim Lidestri, Founder and CEO of Border City Media.

BuzzAngle Music’s dynamic new charts are user-controlled. You control the tracking period, the genre, geography, consumption type, outlet type and release period. BuzzAngle takes it beyond transparency to chart power for the user. The week-to-date charts are updated each day to reflect the previous day’s sales and streaming activity. Visit buzzanglemusic.com.

,!"%,3s2%,%!3%3 SIGNINGS

Dave Stewart has signed a wide-ranging deal with BMG. Musician, songwriter and creative entrepreneur, Stewart has reached a wide-ranging agreement with the Bertelsmann-owned new model music company, which will embrace not just music, but book and TV content, as well as a string of other innovative projects. It will also utilize Stewart’s skills as a creative entrepreneur to generate new synergies between BMG’s sister companies. Stewart co-wrote and produced each Eurythmics album by his world-famous duo

with Annie Lennox, and has also produced albums and co-written songs with Tom Petty, Gwen Stefani, Jon Bon Jovi, Stevie Nicks, Bryan Ferry, Katy Perry, Mick Jagger, Sinead O’Connor, Joss Stone and many others. Visit davestewart.com.

Unable Records, a Cherry Hill, NJ-based independent label, has signed adult film star Amai Liu to a recording contract.

Liu and Unable will write, record and release a brand new single, and will film the entire process, from songwriting and rehearsal to recording and marketing, in order to produce and release a compelling, behind-the-scenes docu-series. Unable is calling the series “Porn to Pop.” Visit unablerecords.com.

Nettwerk Music Group has announced the acquisition of Maxi Records, one of New York’s independent house labels. Throughout the ‘90s, Maxi Records was one of the leaders in house, dance and electronic music, catering to clubs worldwide with hits that spawned careers of many established producers.

Nettwerk has seen strategic growth across its label, management and publishing divisions over the past 12 months. Visit nettwerk.com or maxipromotion.com for more.

After a four-year hiatus, Grammy-nominated, multiplatinum hard rock titans August 2015

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– BERNARD BAUR

The Drive-By Truckers are currently putting the finishing touches on a special five LP/ three-CD deluxe live album. It is being produced by David Barbe at the historic Fillmore Auditorium in San Francisco. This record will be the first to be fully co-written by band founders Patterson Hood and Mike Cooley. To learn more, go to drivebytruckers.com.

Rod Stewart has finished work on his new album, Another Country, to be released Oct. 23 via Capitol Records. The record continues a prolific new chapter in Stewart’s storied career that began with 2013’s, Time, his landmark last album, which reintroduced him as one of rock’s gifted storytellers. “I’ve found that the only way to write songs is to be as personal and honest as possible,” Stewart explains. Collaborating closely with Kevin Savigar, who co-produced the album, Stewart embraced modern technology.

“It seems like I’ve spent years in recording studios, so being able to record at home, where most of the songs were written, felt much more intimate and inspiring.” Visit rodstewart.com.

PROPS

Willie Nelson will receive the Library of Congress Gershwin Prize for Popular Song. With a career that spans six decades, Nelson’s music pushes boundaries and his lyrics give voice to America’s heartland. He has continually broadened his musical language, crossing into jazz, blues, folk, rock and Latin styles.

Nelson will receive the prize in Washington, D.C., in November and be feted with a series of events. The prize honors a living music artist’s lifetime achievement in promoting song to enhance cultural understanding; entertaining and informing audiences; and inspiring new generations.

Previous recipients are Paul Simon, Stevie Wonder, Paul McCartney, Carole King and Billy Joel. Visit willienelson.com.

Legendary R&B singer, songwriter and record producer Smokey Robinson has been honored with the coveted Lifetime Achievement Award at the 15th annual BET Awards 2015. During his 50-year career in music, Robinson has accumulated more than 4,000 songs to his credit and his accolades have been recognized with numerous awards including the Grammy Living Legend Award, NARAS Lifetime Achievement Award, Kennedy Center Honors and the National Medal of Arts Award from the President of the United States. He has been inducted into the Rock ‘n’ Roll Hall of Fame,

DIY Spotlight Valley Shine A CAT PHOTO ON Instagram inspired the formation of this DIY band. Merging in a most uncommon way, Jenna Blake and Sam Sobelam met after a few “hearts” and “comments” were exchanged over a photo of a cat that Sobelam had posted.

Blake was immediately smitten with the kitten and conversation quickly erupted from that point on. Soon after, they met up and discovered their mutual appreciation for music and a distinctive musical chemistry.

It is through that conversation that Valley Shine was born. In a few short months, after a couple of writing sessions influenced by whiskey, laughs and some banjo pluckin’, they wrote and tracked several songs for their rapidly developing fan base.

Commuting between Orange County and Los Angeles, the dynamic duo began to develop their unique folk-pop sound.

The band’s debut single “Sugar Dream” premiered on Baeble Music and set the tone for what will come from this indie pop band.

Upon first impression, the track catches you with its positive and happy exuberance. However, when peeled back, the lyrics reveal a sad love song with heart wrenching undertones.

This unusual juxtaposition is just the start for the duo as they strive to take the norms of the music industry and turn them upsidedown with their out-of-the-box approach.

Valley Shine will be releasing their debut EP LOCA in early Fall 2015.

For more information, you can go to valleyshineband.com and Instagram.com/ValleyShine.

WES MARSALA

Disturbed have announced their return with their sixth studio album, titled Immortalized, to be released Aug. 21 via Reprise Records. The upcoming album follows 2010’s gold-certified Asylum, Disturbed’s fourth consecutive No. 1 on the Billboard Top 200. Visit disturbed1.com.

Have a successful DIY strategy to share? Email bbatmc@aol.com the Songwriters’ Hall of Fame and served as the Vice President of Motown Records, shaping the label’s success and cementing its place in music history. Visit smokeyrobinson.com.

Wiz Khalifa’s “See You Again” has tied for the longest-leading No. 1 Rap song on Billboard’s Hot 100 Songs Chart. The Paul Walker tribute song by Khalifa and Charlie Puth is on the cusp of making history. With 12 weeks on top of the chart, Khalifa and Puth have tied the Black Eyed Peas’ 2009 “Boom Boom Pow,” and Eminem’s 2002 “Lose Yourself,” as the only hip-hop songs with the longest record at No. 1 on the singles chart. Visit wizkhalifa.com.

SOLO STONE Keith Richards is releasing his third solo album (his first in over 20 years) on Sept. 18 via Republic Records. Crosseyed Heart is a 15-track masterclass encompassing everything that makes Richards one of the 20th Century’s most celebrated talents. Reviewers have called it a 5-star musical journey that takes in reggae, rock, country and the blues. Richards, who wrote or co-wrote the majority of the tracks, relates, “I had a ball making this record and working with (co-producer/drummer) Steve Jordan and (guitarist) Waddy Wachtel. There’s nothing like walking into a studio and having absolutely no idea what you’re going to come out with on the other end.” For updates visit keithrichards.com.

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You must now call Van Morrison “Sir.” Morrison has been given a knighthood, the highest honor bestowed upon in the U.K. He also received the Johnny Mercer Award at the Songwriter’s Hall of Fame gala in June. Visit vanmorrison.com.

THE BIZ

Sirius XM Holdings has agreed to a legal settlement

with independent and major record companies for its use of recordings created before 1972.

The satellite radio broadcaster will pay $210 million to plaintiffs ABKCO Music & Records, Capitol Records, Sony Music Entertainment, UMG Recordings and Warner Music Group. The settlement provides a nationwide resolution for Sirius XM’s use of the plaintiffs’ pre-1972 recordings.

Guitarist Joe Satriani and U.N. Musical Director Robin Dimaggio teamed up to compose and produce a new song, “Music Without Words,” that was unveiled at the Annual Presidential General Assembly of the U.N. 69th Session Gala in New York City. Accompanying the song will be a video, compiled by the U.N. The song also features vocals from Ms Monet, a Grammyaward-winning vocalist, songwriter and performer. Visit satriani.com and/or dimaggiointernational.com.

BERNARD BAUR was voted one of the “Top Music Business Journalists” in the country.

Bernard is the connection between the streets and the suites. Credited with over 1,200 features in a variety of publications, he’s a Contributing Editor at Music Connection.

– BERNARD BAUR

“We Had a Hit Single with Jesse McCartney, and it all Began with TAXI” Andy Dodd and Adam Watts – TAXI members www.reddecibelproductions.com www.adamwatts.com

Adam and Andy’s success

through TAXI is a little bit different from all the other stories you’ve probably heard.

They got their biggest deal after their membership ran out!

Here’s how it happened: “We joined TAXI in 2001 and found that it was a great motivator for us. We were members for two years. We learned a lot, wrote a ton of songs, and got a few film and TV placements -- some through TAXI, and some on our own.

We submitted a song we wrote with Jenn Shepard called “You Make Me Feel” to one of TAXI’s Industry Listings. We didn’t hear anything back for a while and eventually our TAXI membership ran out. Thankfully, we began to get so busy with production and writing gigs that we decided to wait and renew our membership at a later date.

production/management company that was looking for material for a young, male Pop artist they were developing.

Later that year, Jesse McCartney’s managers called us saying they had just heard “You Make Me Feel” on a CD they got from TAXI and wanted to have him cut the song.

Although Jesse decided not to record “You Make Me Feel”, his managers asked us to write more songs for him. We wrote a handful and they ended up putting his vocal on two of the tracks we produced, “Take Your Sweet Time" and "Beautiful Soul”.

management got the song to a label executive at Disney. Soon after, Jesse was signed to Hollywood Records. “Beautiful Soul” became his first single, and we both signed publishing deals with Disney Music Publishing.

Jesse McCartney’s album (entitled “Beautiful Soul”) has gone Platinum in the U.S. and Australia.

“Beautiful Soul” went to #3 on Radio and Records CHR Pop Chart, #5 on Billboard’s Top 40 Chart, #19 on Billboard’s Adult Top 40 chart, it’s a Platinum Digital Single Download, it’s on the Gold-selling ‘Cinderella “Beautiful Soul” got played Story’ Motion Picture on Radio Disney, and Jesse’s Soundtrack, the Gold-selling ‘That's So Raven’ TV Soundtrack, and the video was nominated for Best Pop Video at a 2005 MTV Video Music Awards.”

All of this came about because Adam and Andy sent a song to TAXI. Call for our free information kit.

Little did we know that TAXI had sent our song to a

The World’s Leading Independent A&R Company

1-800-458-2111 August 2015

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THE KARMA KILLERS Date Signed: Fall 2014 Label: Dirty Canvas/Island Records Band Members: Micky James - vocals, guitar; Mango - bass, vocals; Billy Stevens - guitar, vocals; Josh Grigsby - drums.

Type of Music: Power Pop/Rock Management: Zach Neil - New Gold Management Booking: Matt Galle - Paradigm Talent Agency Legal: Nicole Wyskoarko Publicity: Nadia Ali, nadia.ali@umusic.com Web: thekarmakillers.com A&R: Steve Yegelwel - Island Records

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rom their home base in New Jersey, The Karma Killers wave the flag of classic rock, new wave, punk and power pop with a vengeance.

The band began in 2012 and blossomed initially from the strong lyrical verve and musical prowess of frontman Micky James. He aligned with mutual friends Mango and drummer Josh Grigsby and found they had good chemistry and similar career goals.

“A few months in, we flew to L.A. to record an EP with our own money,” says James. “It flopped and sucked. We kept playing around New York City doing the club scene, but it’s not like we expected it would be. We decided to lock ourselves in a room and just kept writing songs.”

One of those songs was a tune called “I’m Okay” for which they shot a video. That caught the attention of Dirty Canvas Music co-owner Shep Goodman. Goodman had befriended James a few years before when the young guitarist/lead vocalist was starting out. “Shep and his partner Aaron Accetta dug our song and a couple months later we started writing with them,” continues James. “In October we eventually jumped in the

“It was a good year and a half of trying to establish and capture the band’s sound.” studio and started making the EP. It was a good year and a half of trying to establish and capture the band’s sound. At the end of the day Shep and Aaron nailed it and we’re super proud of it.”

The debut EP James speaks of is called Strange Therapy and was released worldwide by Dirty Canvas/Island Records on June 9. This release coincides with the band’s appearance on the 21st annual Vans Warped Tour, which takes them across the United States through the end of August.

“Shep had a built-in connection with Island through his previous work with Universal,” says James. “There might have been some other label interest, but I really don’t care. A lot of our favorite bands were on Island, like The Cranberries and The Bravery. So, it was really ironic that it all worked out like it did.” – Eric A. Harabadian 26 August 2015

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REUBEN HOLLEBON Date Signed: Dec. 17, 2014 Label: Bright Antenna Records Type of Music: Alternative Management: Ed Lewis & Aaron Moore - Mother City Ltd. Booking: TBC Legal: Paul Spraggon - SSB Publicity: Sarah Facciolo, sarahf@pressherepublicity.com Web: facebook.com/reubenhollebon A&R: Braden Merrick; Bright Antenna Records

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ritish alt-folker Reuben Hollebon hopes to embrace all dimensions of the dynamic music industry, and he instinctively found the right group of people to support such high ambitions.

Hollebon recently signed a deal with the San Francisco Bay Area’s independent Bright Antenna Records. And despite interest from big-name labels, Hollebon finally sensed an “ah ha” moment: “It felt like a solid foundation. Bright Antenna has the same ethics in regards to how I want to make music.”

Praised for engineering for artists including Basement Jaxx and Courtney Barnett, Hollebon is ready to experiment with a unique and personal sound, which means expanding his creative skills beyond just singing, songwriting, guitar playing and performing. Basically anything to avoid the “one hit wonder” curse.

“I've chosen to try and make music for a long period of time. That doesn’t mean just writing one good song––it means learning how to put

“If you’re a musician you have to do music every day if you really want it.” more out. [Bright Antenna] was prepared to join me in this. It felt quite fresh [because] things keep changing constantly.”

And Hollebon is comfortable enough to appreciate this steady learning process. He now understands when to staunchly push for what he wants, and when it’s best to back off and patiently wait things out.

Initially, Hollebon doubted his own talents and almost quit making music altogether. But once the smaller moments (practicing and working with friends in the studio) led to bigger accomplishments (recording and recruiting a strong management team), he finally felt satisfied enough to accept his struggles as a growing musician.

“You will only find out if you do it,” he states, “so you have to do it right.

If you’re a musician, you have to play or record or perform. Do music every day if you really want it. Only by doing [so] do you really achieve and get to where you want to be.”

After releasing a handful of hit singles including “Faces” and “Clutch” while independently based in London last year, Hollebon is now working on his debut album. – Danica Bellini

IVY LEVAN

Date Signed: January 2013 Label: Cherrytree/Interscope Records Type of Music: Pop/“Swamp Hop” Management: Lucas Banker - Blood Money, LLC, 310-463-1053 Booking: Marty Diamond - Paradigm, 212-897-6400 Legal: Brendon Vandergast - Altschul Olin & Vandergast, LLP, 818990-1800 Publicity: Greg Cortez - 42West, 424-901-8716, greg.cortez@42West.Net Web: ivylevan.com A&R: Martin Kierszenbaum

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os Angeles-based singer and Arkansas native Ivy Levan started in the business when she was a mere 18––old enough to sign a contract but perhaps not old enough to embrace fully the intricacies of the business.

She landed a deal with Virgin Records initially, but it was an ill-fated relationship. Levan left the label, got to know herself better and ultimately signed with Santa Monica-based Cherrytree Records. “I didn’t know who I was when I started,” Levan explains. “I wanted to be a rock singer, but other people told me that I should be like Celine Dion. I didn’t want to do that. I had a lot of angst and a lot to say. I did an EP, leaked some stuff to the Internet and [ultimately] got put on the back burner. I had a bad experience with that, so I took a few years off to be a kid; to go through what a normal person would in their college years: party, meet people, have fun.”

Clearly this artist had had a rough start. But the spark hadn’t been extinguished entirely. “I met [producer] Lucas [Banker],” the singer recalls. “He’d heard about me from a guy at Sony. He tried to chase me

“I was terrified of people in the industry.” down, but I wasn’t having it. I was terrified of people in the industry. I didn’t want to do music anymore. But he coaxed me into it and we started writing together. It was magic; instant chemistry. We shopped my stuff around and the reaction was amazing.

“Cherrytree was the label that we loved the most,” she continues.

“They really got me as a person and understood what we were trying to do, creatively. I’d been fighting to be free to explore who I was. I’d done a lot of soul-searching. They saw that and the honesty behind it.”

No Good drops on Aug. 7. “Biscuit,” the album’s first single, was released in January and has over one million YouTube views. Cherrytree labelmates include LMFAO and Sting. – Rob Putnam

A THOUSAND HORSES Date Signed: May 2014 Label: Big Machine Records/Republic Nashville Band Members: Michael Hobby - lead vocals, harmonica; Bill Satcher - lead guitar; Zach Brown - guitar, vocals; Graham DeLoach - bass, vocals.

Type of Music: Country/Rock Management: Scott McGhee & Charles Vegara - McGhee Entertainment Booking: Jeff Krones - CAA Legal: Kent Marcus Publicity: Charlotte Burke, charlotte.burke@bmlg.net Web: athousandhorses.com A&R: Allison Jones - Big Machine Label Group

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ichael Lobby and Bill Satcher grew up in Newberry, SC and bonded as school chums meeting in a local music store. They began writing songs together and would jam with Satcher’s cousin Graham DeLoach when he would join them for summer visits. A friend introduced them to Zach Brown and their musical destiny was set in place.

They officially formed as A Thousand Horses in 2010 and initially garnered a deal with Interscope Records that same year. “That deal only lasted about six seconds, I think,” says Lobby. “From then until now–– after our management and booking agent quit––we were back to ground zero. But we established a lot of our songs with that Interscope release and that’s where we discovered our sound.”

The band worked on that eponymous project with veteran producer Dave Cobb. And it would be a relationship that would prove mutually beneficial for both. “After we lost our deal we wanted to keep going,” says

“After our management and booking agent quit, we were back to ground zero.”

Lobby. “We decided to get credit cards, keep touring and try to scrounge up as much money as we could and make a full album on our own. We called Dave and said we have a little bit of money. He said ‘fuck it, let’s just record it at my house!’” Cobb handed a demo-in-progress to Republic Nashville president Jimmy Harnen to listen to during a golf game. Harnen was instantly impressed and got the signing ball in motion in May 2014.

A Thousand Horses’ new album is called Southernality and its first single, “Smoke,” has set a record for the highest debut by a new act when it opened at No. 28 on the Country Aircheck radio chart. The album was released this past June and they are currently out this summer supporting Darius Rucker on his “Southern Style” tour.

“We’ve always set little goals for ourselves to try and achieve,” says Lobby. “We had been on the road for the last five years. We decided to make that album and that decision is what led us to here. We thought if we sell 2,000 records we’ll make our money back. And when Republic came around it all changed.” – Eric A. Harabadian August 2015

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Durango Expo This Fall

The next Durango Songwriters Expo has opened registration for its upcoming Fall event to be held Oct. 1 in Broomfield/Boulder, CO. The Expo is an enduring songwriter-intensive event that affords songwriters of all levels maximum exposure to music publishers, music supervisors and producers.

Among the event’s many highlights are listening and pitch sessions, panels, classes and workshops on the art, craft and commerce that drives the songwriting world.

Very famously, Durango provided a forum and a meeting place for Grammy-nominated songwriter and artist Meghan Trainor.

It’s all about the songs. Find out more at Durango-songwriters-expo. com.

IAMA Competition Opens The 12th Annual IAMA (International Acoustic Music Awards) is open for registration now until Nov. 6 with a top prize valued at over $11K. Past winners include Meghan Trainor, and last year’s awardee, Carl Wockner (pictured). All the details are at inacoustic.com/entry.html.

Iossa Upped at ASCAP Key ASCAP marketing executive Lauren Iossa has been promoted to Executive Vice President, Chief Marketing & Communications Officer.

She will oversee all of ASCAP’s global public relations, brand and corporate marketing activities, as well as communications and special events.

SESAC Acquires Harry Fox Agency

Rumors have been rampant over the past year, but it has now been confirmed: SESAC will be acquiring the Harry Fox Agency (HFA) from the National Music Publishers Association. The acquisition will allow SESAC to license multiple rights in a number of territories, including both performance and mechanical licenses.

As of 2014 SESAC’s revenue had grown to $182 million (from $167 million the year prior). HFA, however, has seen declining revenue over the years despite a new strategy the agency hoped would capitalize on increased streaming activity.

SESAC is home to a catalog of over 40,000 songs and HFA brings 48,000 publishing clients to the deal. In late 2012, the private equity firm Rizvi Traverse took control of 75 percent of SESAC in a deal that valued the company at about $600 million. Unlike ASCAP and BMI, which operate as nonprofits, SESAC does not report its finances publicly, but recently Moody’s In-

Olsen Tracks at Universal

BMI’s Sync THIS! In L.A. BMI hosted a sumptuous dinner and music-filled networking event for key writers and execs. Pictured (l-r): Jeremy Ash, Capitol CMG; Michelle Wernick, Secret Road; Penny Gattis, BMI; Jacob Summers, Avid Dancer; Jessa Gelt and Lisa Feldman, BMI; Wayne Davis, Secret Road; Tracie Verlinde, BMI; singer/songwriter Lucy Schwartz; and Daniel Higbee, Secret Road. More details at bmi.com.

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UMPG has promoted Randi Olsen to Senior Vice President, Income Tracking and Analytics.

Olsen will expand the department’s operational scope to provide UMPG writers with key analytic insights related to its global income streams.

She will also continue to oversee UMPG’s North America income tracking efforts She will be based in UMPG’s Santa Monica, CA headquarters. See musicpub.com.

vestors Service estimated that the company had about $182 million in revenue in 2014. More details at sesac.com.

BMG to Rep Buddy Holly

The Buddy Holly Educational Foundation has announced that Board Member and Co-Founder Maria Elena Holly has selected BMG as the new home for Buddy Holly’s music, and as the caretaker of his legacy. His widow Maria Elena Holly has dedicated her life to ensuring that Holly’s legacy would be remembered with integrity and love. She believes that BMG has the passion and the resources to continue to serve Buddy’s fans, and also to bring his incomparable artistry to a wider audience, including a new generation listeners.

Additionally, Laurent Hubert, President Creative & Marketing, BMG for North America, has agreed to serve on the Board. For more information visit tbhef.org.

Gamble and Huff To Chair Songwriters Hall

Philadelphia-soul pioneers Kenneth Gamble and Leon Huff have been elected the new chairmen of the Songwriters Hall of Fame. The pair, whose many hits as songwriters include the O’Jays’ “For the Love of Money” and Simply Red’s “If You Don’t Know Me by Now,” will lead the organization, which celebrates songwriters and produces programs designed to develop new songwriting talent and educate the public about songwriting achievements.

The songwriting pair was inducted into the hall in 1995 and received the Johnny Mercer Award, the hall’s highest honor, last year.

See songhall.org.

Imagem Music Inks Hill, Lundin

Imagem Music U.S. announces two new additions to its esteemed

– DAN KIMPEL dan@dankimpel.com

publishing roster––soulful singer/ songwriter Judith Hill and Swedish songwriter Niclas Lundin.

Hill signed a multi-year worldwide publishing agreement with the company. A Los Angeles native, Hill has seen a remarkable career beginning as a background singer for legends including Stevie Wonder, Elton John, Ringo Starr and Michael Jackson.

Imagem has also signed a worldwide publishing agreement with multi-platinum Swedish songwriter Niclas Lundin. Lundin has become one of the most sought-after songwriters, and has had several No. 1 songs all over the world.

See us.imagem-music.com for details.

Kobalt To Handle Marley Catalog

The Kobalt Music Group has signed on to serve as global administrator for Blue Mountain Music, which includes the complete works of Bob Marley, as well as songs from the U2 back catalog, Free, and Toots & The Maytals.

Kobalt Music Publishing will administer and provide publishing services and synch licensing services worldwide to Blue Mountain’s established catalog and growing publishing roster.

Blue Mountain Music maintains offices in London and New York from which it will continue to sign and foster new talent and oversee its business interests.

In signing the deal, Blue Mountain founder Chris Blackwell, who is also the founder of Island Records, called Kobalt “the future of the music publishing business.”

To obtain additional information visit kobaltmusic.com.

ISC Judges Announced

The International Songwriting Competition (ISC) recently announced its esteemed panel of judges for the 2015 competition.

The panel includes many iconic, high-profile recording artists, as well as Presidents and CEOs from Atlantic, Epic, Elektra, Sony Music Latin, Warner Bros., Tommy Boy, Wind-Up, Alligator, Concord Music Group and more.

This year's artist/judges include: Kesha, Tom Waits, Bill Withers, American Authors, Lorde, Pat Metheny, Sara Evans and many others.

Designed to nurture the musical talent of songwriters on all levels and promote excellence in the art of songwriting, ISC offers the opportunity for songwriters to have their music heard by some of the most influential decision-makers in the industry.

ISC gives away more than $150,000 in cash and prizes (shared among 68 winners) including an overall Grand Prize consisting of $25,000 (U.S.) cash and $30,000 in merchandise and services. In addition to prizes, winners gain recognition, press, kudos and more career opportunities.

Open to both amateur and professional songwriters, the International Song Competition offers 22 categories to enter, representing all genres of popular music.

Complete information about entering the ISC can be found at songwritingcompetition.com.

DAN KIMPEL, author of six music industry books, is an instructor at Musicians Institute in Hollywood, CA. He lectures at colleges and conferences worldwide.

Lindy Robbins: Hits Keep Coming Congratulations to songwriter Lindy Robbins for her song “Want to Want Me” by Jason Derulo and co-written with the artist and Mitch Allan, Ian Kirkpatrick and Sam Martin. The song hit No. 1 on mainstream radio and Billboard Pop charts, and worldwide. Visit lindyrobbins.com for additional details.

Timbaland Tops for ASCAP R&S Awards The American Society of Composers, Authors and Publishers (ASCAP) hosted its 28th annual Rhythm & Soul Music Awards in Beverly Hills. Songwriter of the Year went to co-winners Timbaland (pictured above) and Jay Z. Timbaland, Beyoncé and Jay Z also received the award for Top R&B/Hip-Hop Song for “Drunk in Love.”

Trainor’s Reality Moment Michael Masser: Final Chorus Song Biz sadly notes the passing of monumental songwriter Michael Masser whose co-written songs “The Greatest Love of All” and “Saving All My Love For You” (Whitney Houston) and “Theme from Mahogany (Do You Know Where You’re Going To)” are indelible entries in modern pop consciousness. Masser was 74.

When the new reality show Answered Prayers, starring Roma Downey, premieres on TLC, it will have a theme song, “Wonderfully Made,” penned by Sean Trainor. A graduate of Berklee College of Music, the song was submitted for Berklee’s annual Pitch Perfect competition where Trainor was paired with James Burnett, a fellow student, to produce the track. Burnett’s father is reality television producer Mark Burnett. Check out seantrainor.com.

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Bobby Long: New Revelations with Ode To Thinking

By Dan Kimpel

A

s collected by Francis James Child during the latter part of the 19th Century, the ballads of England and Scotland are rich historic documents of people, events and histories heightened for dramatic effect.

In this historic Anglo-American tradition, the detailed lyrics of singer/ songwriter Bobby Long form a vital link in this chain, revealing intimate dioramas, romantic interludes and a search for purpose and redemption.

Long is a marvelously evocative singer whose rich, husky vocal tone enunciates the clarity of the stories. On his latest release, Ode To Thinking, the U.K.-born, New York City resident injects a sense of immediacy and purpose to a suite of 11 songs. Recorded in Austin, TX with producer Mark Hallman at Congress House Studios, Long recorded the entire project in less than two weeks, as Hallman accompanied him on a dizzying range of instruments, from pedal steel to Hammond B3.

Originally from Wigan, U.K., Long grew up in Wiltshire, known as the literary setting for novels by Thomas Hardy.

But Long, performing at open mics in London during his university years, was intent on taking his artistry to the country whose music was his inspiration––the United States.

“England obviously has great bands—The Beatles, Stones and Black Sabbath, and solo artists like Elvis Costello, Nick Lowe and Joe Cocker,” he says. “But living in America is the Holy Grail.”

Like Christopher Isherwood and D.H. Lawrence—English writers who chose to live outside of their country––Long acknowledges that its distance and detachment helps him to appreciate his home country. He also notes that a sense of transient impermanence is helpful. “It’s good for a writer to feel displaced,” he notes. “I feel a different perspective when I view it from outside.”

This summer, Long returned to the U.K. for his first large scale show at one of the world’s most colossal music festivals, Glastonbury. “It was great to play for family and friends,” he says of the event. Following a week in the U.K. this fall, an extensive European tour is scheduled.

“Ode to Thinking,” the title track, is a rumination on social and personal consciousness as underscored by Hallman’s spare organ lines. “I wanted to begin this new album with a statement and then move backwards,” explains Long. “We’ve unchained our monster/And it’s left me feeling unwell,” say the lyrics.

A harrowing story, “Kill Someone,” contains what Long believes is his best ever line: “There’s a man out there talking speaking in tongues/ Losing his hair, bleeding gums.” The man in question, whom Long rakes over the coals with unrelenting imagery, is a real person. “He a relative, a member of my family, and the worst person I ever met,” Long says.

In ¾ time, “The Songs the Kids Sing” is annotated with the timeless Continental lilt of an accordion. “I was inspired by Leonard Cohen, who does waltzes that I love,” says Long.

Ode To Thinking is Long’s third full-length release in addition to various EPs. His first two records were under the auspices of ATO Records, a label formed by Dave Matthews that now serves as home to the red hot Alabama Shakes. This project was funded through a Pledge Music campaign. While Long is quick to praise his former label, he believes that the independent direction and his current partnership with Compass Records will propel his career in an ascendant direction.

Exceeding the goal of his fundraising campaign is evidence that Long is reaching a dedicated audience. “Essentially, they are prepaying for the music,” he notes. “Earlier in my career I was shy, so this was difficult, but now I really enjoy it. I’ve never felt better in my life––and the audience is a part of that journey.”

Contact Sharon Weisz, W3 Public Relations, 323 934-2700 W3pr@yahoo.com

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DROPS

I Dream of Wires, a documentary on the history of how the synthesizer shaped electronic music, dropped on iTunes on July 21 and DVD Aug. 4. This film by Robert Fantinatto and Jason Amm features interviews with Trent Reznor of Nine Inch Nails, Gary Numan, Carl Craig, Morton Subotnick and Vince Clark of Erasure. In it, they and new electronic dance music artists including Clark, James Holden and Factory Floor talk about how the synth has shaped their music. As the documentary delves into the synthesizer’s history, viewers can see how Robert Moog developed the first room-sized models and how the synth began to rise in popularity. Contact Michelle Berninger at Michelle@FirstRunFeatures.com for details.

THEY MIGHT BE GIANTS

including violinists Lili Haydn and Katia Popov, flutist Sara Andon and vocalist Ayana Haviv.

The album is autobiographical and plays out in three acts. For more information, contact Greg O’Connor-Read at Greg@ TopDollarPR.com.

I DREAM OF WIRES Award-winning film and video game composer Penka Kouneva (Prince of Persia, Transformers) released on July 10 her sophomore album, The Woman Astronaut, through Hollywood film soundtrack label Varèse Sarabande.

The original concept album was composed in a cinematic style, fusing symphonic music and electronica. It follows Kouneva’s critically acclaimed first orchestral album, A Warrior’s Odyssey. Kouneva, who has scored multiple independent features, composed the album on a scale to accompany an epic sci-fi blockbuster.

It was produced with the Hollywood Studio Orchestra and acclaimed Los Angeles soloists

A documentary on the filmmakers credited for managing and developing The Who will drop on Bluray and DVD on Aug. 18.

With Lambert and Stamp, viewers are in for rare and unseen footage of the band while learning the story of filmmakers Kit Lambert and Chris Stamp. Created by first-time documentarian James D. Cooper, the film follows the two young directors as they collaborate and compare notes on film and music. Included in the film are present-day interviews with The Who’s Pete Townsend and Roger Daltrey. Bonus features include commentary with Cooper, never-beforeseen archival footage of the band and a Q&A with Cooper and Henry Rollins of Black Flag.

Waxwork Records has just dropped a deluxe LP re-issue of Danny Elfman’s score to Clive Barker’s Nightbreed. The soundtrack re-release has been long out of print and prohibitively expensive, and is a coveted collectable for horror fans and vinyl enthusiasts. The deluxe package features re-mastered audio, full package artwork

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by Rich Kelly, 180-gram colored vinyl and high quality packaging. Elfman is known for scoring such films as Nightmare Before Christmas and Beetlejuice. For more information, contact Christopher Hansell at C.G.Hansell@gmail.com.

OPPS

Producers, film personalities, music industry professionals, singers and bands are invited to guest on the CarryOnHarry Talk Show, which showcases emerging and established talent and gives them an international audience. Each show runs 10-15 minutes and highlights the artist or professional’s new releases.

Contact HarryJohal@Car ryOnHarry.com for booking inquiries or visit CarryOn Harry.com/contact.php.

Over Coffee is looking for innovators in all areas of the arts. Guests can talk about their new projects and how they’ve made an impact in their area of interest.

Contact Don Cannon with booking inquiries at Two Maverix@gmail.com.

Composers are needed for an up-and-coming music production library. The library seeks indie rock, rock, pop, jazz, blues and world music composers that can supply a minimum of five cuts per month. They must be 1-2 minute pieces, with and without vocals for various major network television shows, films and network promo com-

– JESSICA PACE j.marie.pace@gmail.com

Out Take

mercials. The library offers 100 percent writers share. The music will be exclusive to this library, but the artist retains the rights to the music.

Artists must have their own studios to produce radio-quality pieces. Email wrqjt-5091073157@ job.craigslist.org for more information.

PROPS

New York alt-rock band and two-time Grammy winners They Might Be Giants resurrected their Dial-A-Song phone number for the year with the promise of a new song and video every week through DialASong.com or by calling 844387-6962. Among the latest releases was “And Mom And Kid,” an apropos choice with the recent Supreme Court decision legalizing samesex marriage. Originally created for the HBO documentary A Family is A Family is A Family, the song celebrates family diversity. Contact Jeff Apruzzese at Girlie Action Media at Jeff@ Girlie.com with questions.

The Smithsonian Channel has acquired the rights to broadcast Monster Entertainment’s acclaimed Irish music series Other Voices in the U.S. and Canada. The one-hour program features Grammy-nominated Irish artist Hozier and is hosted by Aiden Gillen (Game of Thrones, The Wire). The program is filmed

in the 200-year-old St. James Church in the seaside town of Dingle, Co. Kerry, Ireland. This program was Hozier’s first television appearance at the time it was filmed, and will include live performances of hits like “Work Song” and Grammy-nominee “Take Me to Church” as well as exclusive interview footage with the artist. For more information, email Josh Gross at Josh.Gross@ SmithsonianChan nel.com.

The Lincoln Center Local: Free Screenings series is expanding to new locations and venues this summer. LCL offers streams of programs from Lincoln Center’s growing digital content collection to libraries and community centers, includLINCOLN CENTER ing world-class performances from Live From Lincoln Center and other previous live events.

Starting July 30, screenings are taking place in Montclair, NJ, with monthly events scheduled through November at the Montclair Public Library. Hurray for the Riff Raff will be the second event on Aug. 27 and will be shown outdoors. Free screenings will also be shown on another outdoor screen this summer at the

Gwendolyn Sanford Composer Queens Theatre in Flushing Meadows Corona Park weekly throughout August. Upcoming shows include the New York Philharmonic, the Villalobos Brothers, Yo-Yo Ma with the New York Philharmonic and the 2012 Richard Tucker Opera Gala featuring some of opera’s leading voices. Screenings will also take place in 19 new locations across the five boroughs in New York City. Contact Eric Gewirtz at EGewirtz@LincolnCenter.org for more information.

For the second year in a row, Norwegian/American television series Lilyhammer and its star, director/producer/musician Steven Van Zandt, won Best European Comedy and Outstanding Actor from the Golden Nymph Awards. This is one of the most prestigious awards in international television. Van Zandt co-wrote and scored the series. Lilyhammer is about a fictional New York gangster, Frank “The Fixer” Tagliano, trying to start a new life in isolated Lillehammer, Norway.

The first season premiered on Norwegian NRK in 2012 with a record audience of 998,000 viewers.

For more information, contact Maureen O’Connor at MOConnor@ RogersAndCow an.com.

Expert Amanda Keating from Fractured Atlas (an organization that provides musicians and artists with the technology and tools to raise money) gives you the lowdown on how to produce an effective crowdfunding video. It is available at bit.ly/1OwTaJC. JESSICA PACE lives in the Nashville area and writes about music, local government and education. Contact her at j.marie. pace@gmail.com.

Contact: Albert Tello, Costa Communications, ATello@CostaComm.com Web: GwendolynAndTheGoodtimeGang.com Most Recent: Orange is the New Black Writer/producer/director Jenji Kohan’s kids’ love for the Los Angeles children’s group, Gwendolyn and the Goodtime Gang, was what led composer Gwendolyn Sanford to collaborate with Kohan, who created Orange is the New Black and Weeds.

Because Kohan’s kids were fans of the Goodtime Gang, Sanford and husband/ bandmate Brandon Jay landed an audition to score Weeds, which they continued to do for seven seasons. Now Sanford, Jay and their collaborator Scott Doherty are working on a new season of Orange, composing the score in their L.A. garage.

“The first children’s song I wrote was for the film Chuck and Buck, which is an adult film and has very childlike undertones to it.

It opened the world of interpreting pictures with music,” Sanford says.

“Goodtime Gang got around with preschools, and we put together a band and it was just fun. When Jenji asked me to score an episode of Weeds, it was a re-visiting of that.”

Sanford says artists should do their best work regardless of the project, but passes on projects she doesn’t connect to. “If you’re not connecting to a piece, you won’t bring it what it needs. Instinctively, people know if they’re right for a project or not.”

Her biggest challenge with Orange, she says, is supporting all the different characters through the score, but that keeps the gig from getting boring. A background in other art forms has also proven helpful.

“You approach it emotionally, just like an actor would do. The music is its own role, and that’s where it really helps to be a dramatist as well as composer. If you can do that, you have a leg up. If you can approach music that way, it’s almost like you’re acting, but acting with music. That’s when it connects to the characters and viewers. Music is magic, so there has to be a sense of that in your work. It’s an emotive art form, and if you’re feeling it, then everyone else will.”

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Simpson Set Free Cody Simpson celebrated the release of his first independent album Free at the Tropicana at the Hollywood Roosevelt Hotel. He performed songs from the album along with a cover of the Leiber & Stoller classic, “Hound Dog.” For more information, visit codysimpson.com.

Pluto’s Faintest Moon

ADAM BATTAGLIA

STYX met with members of NASA’s New Horizons team, including the scientist who discovered Styx—Pluto’s faintest moon—in 2012. STYX’s Tommy Shaw, Lawrence Gowan and Todd Sucherman were treated to a tour of New Horizons’ mission control from mission operations manager Alice Bowman. Principal investigator Alan Stern also showed the trio the latest images from New Horizons. For more information, visit nasa.gov/nh/styx-meets-styx.

The Fishman Pickup for Tele Players At Summer NAMM in Nashville, TN, Greg Koch demonstrated the Fishman Gristle-Tone Pickup Set for Telecaster Guitars. For more information, visit fishman.com.

National Record Promotions’ Larry Weir joined recording artist Tom Maclear and his team during a label event in support of Maclear’s new single, “Unapproachable.” The track is taken from his Tom Maclear & Friends CD released through the indie label Meg Records with Weir promoting. Pictured (l-r, top): Weir, Tom Tanno and Brant Harvey; (bottom) Renee Disisto, Maclear and Don Adey.

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FREDERICK BREEDON/GETTY IMAGES

Weir Makes Maclear Approachable

Three Festive Days in Nashville Summer NAMM exhibitors, thousands of products, rocking events and countless educational offerings converged at Nashville, TN’s Music City Center for NAMM’s largest mid-year gathering in seven years. Music Industry Day featured The American Eagle Awards and performances by Dustin Lynch, Tony Lucca and Louisa Wendorff.

– SIRI SVAY siri@musicconnection.com

CHELSEA LAUREN

Tidbits From Our Tattered Past

It’s MIGUEL! Music Connection’s August 2013 cover artist, singer/songwriter Miguel, performed an intimate set during the SONOS Studio + PANDORA: “An Evening With Miguel” event held in Los Angeles, CA.

Time Travel with Varèse Sarabande “Back in Time…1985 LIVE!” at the Redondo Beach Performing Arts Center featured celebrated music and special guests including composers David Shire, Bruce Broughton, Cliff Eidelman, Jeff Beal, Christopher Lennertz and fans, as well as the SoCal DeLorean Car Club. Performed by the Golden State Pops Orchestra and produced by Varèse Sarabande, the event honored the 30th anniversary of several iconic themes of the ‘80s. Pictured (l-r): Bruce Broughton, Sara Andon, Steven Allen Fox, Bob Townson of Varèse Sarabande and Cliff Eidelman.

1985–Knight Shift–#23 Music Connection focused on songwriters in this issue, featuring Difford & Tilbrook, Randy Newman, John Hiatt, Stevie Wonder and our cover girl, Holly Knight, who was on a career streak with five Top 10 hits (including Pat Benetar’s “Love Is a Battlefield”) in a year and a half.

“It’s not like I sit down and go, ‘I’m gonna write a hit,’” she said. “I just get on with the business of doing it.’

Big Bowl Of Swamprock 2001–Indie Uprising–#20

STEVEN FURCO DAVID KLEIN

While on his worldwide “1969” tour, rock musician John Fogerty made a stop at the Los Angeles Hollywood Bowl.

Following his tour, Fogerty will release his memoir, titled FORTUNATE SON: My Life, My Music.

For additional information and tour dates, visit johnfogerty.com.

MC caught the White Stripes just as their buzz was reaching a boiling point and the band was very close to shedding its baby-band skin. After years of being the duo’s marketing guru and stamp licker, Jack White was looking forward to leaving those tasks to others. “I never got into this so I’d have a desk job working for my own band.

That’s kind of insane.”

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PHOTO BY DAVID McCLISTER

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t a time when major rock bands are an increasingly rare breed, and new success stories are even harder to find, Alabama Shakes are a big, bright beam of hope. With 2012’s Boys & Girls, the band earned three Grammy nominations and went gold (500,000 albums sold)––pretty much the equivalent nowadays of going diamond. Their follow-up, Sound & Color, might wind up achieving even more glory, having debuted at the top of the charts and drawn heaps of critical praise.

Standing at the center of the band (Zac Cockrell - bass; Heath Fogg - guitar; Steve Johnson - drums; Ben Tanneris - keyboard) is 26-year-old phenom, Brittany Howard, a former fry cook and postal worker who has made her mark with a commanding, distinctly Southern vocal style that ranges from howls to whispers. She recently spoke with Music Connection about The Shakes’ skyrocketing fame, how she has stayed down to earth and what ambition she has for the band’s future.

Music Connection: What is the most surprising aspect about becoming a successful band? What advice do you have for other performers on how to prepare for success?

Brittany Howard: As it’s happening, you don’t realize it, you’re wrapped up in it. One of the things that propelled us ahead is acting professionally. Play as long as you say you’re going to play, and play well. You want people to walk away happy, and if you love what you do you’ll work better at it.

MC: Which are you enjoying more at the moment, performing or writing?

Howard: It’s my passion to perform and write, but right now I really like the writing side of it. I’ve got a lot of ideas.

MC: Is it true that you’re writing 20 hours straight per day?

Howard: I used to do that when I was kid, but I’ve never written 20 straight hours. I take breaks. But lack of sleep actually really helps me as a writer. I like to cloister myself away. I like to think about the mood of the song, how it wraps itself musically.

MC: Are you writing parts for everyone in the band to play?

Howard: I often have a rough draft idea of what everybody’s doing. Sometimes I won’t fill in the gaps, but I usually come in with a rough draft of what the beats would do.

MC: Do you take any more extensive breaks while writing?

Howard: The only way I can work is if I keep working. I learned that the hard way, because we had taken a year off and gotten comfortable; then it was, “Wait a second, we have to put out a second record. Where am I musically?” We could’ve repeated the first album easily, but that’s not who we are as musicians. I try to think of where I am as a songwriter, where am I socially, what do I want to hear, what are the ways to do it, how can we do it and not copy somebody else.

MC: What parts of songwriting in particular did you most enjoy with this second record?

Howard: The sections of orchestral French horns. I enjoyed messing with that.

MC: Were there any new influences?

Howard: Listening to music, you pick up tiny things and don’t even realize it, but growing up, our heroes were The Meters and Curtis Mayfield and these rhythm sections, so we focused more on that. When it comes to a live audience, you want to shock them and soothe them. When we went to the studio, it was like, “Okay, this is something new to us.” This album shows you don’t need to have a formula, you just need to make music for yourself and stay true to yourself.

MC: Can you elaborate on one new song and talk about what it means to you?

Howard: “Over My Head” is about this theory I have based off of reincarnation.

You don’t have to believe in reincarnation to understand the song. It’s just that I believe August 2015

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r "MBCBNB 4IBLFT BSF NBOBHFE CZ ,FWJO .PSSJT BOE $ISJTUJOF 4UBVEFS BU 3FE -JHIU Management. r .BUU )JDLFZ BU )JHI 3PBE 5PVSJOH handles booking for the band. r "MBCBNB 4IBLFT XFSF PSJHJOBMMZ OBNFE TJNQMZ i5IF 4IBLFT u XIJDI UIFZ DIBOHFE due to fears it was too commonplace. r #SJUUBOZ )PXBSE T Ă STU CBOE XBT B QVOL rock group that she played in at the age of 13. r )PXBSE NFU GVUVSF "MBCBNB 4IBLFT bassist Zac Cockrell while they were both the energy thatâ&#x20AC;&#x2122;s created is never destroyed, so if you think about it, love never goes away.

Itâ&#x20AC;&#x2122;s based off the concept that you recognize one day that you have all this love around you at all times, and itâ&#x20AC;&#x2122;s a very deep feeling to know that someone loves you no matter what. Itâ&#x20AC;&#x2122;s something that canâ&#x20AC;&#x2122;t be explained by science or anything.

MC: How did you come up with that theory?

Howard: Iâ&#x20AC;&#x2122;m not sure, I just had that thought years ago. Itâ&#x20AC;&#x2122;s not hocus-pocusâ&#x20AC;&#x201D;Iâ&#x20AC;&#x2122;m a realist, Iâ&#x20AC;&#x2122;m a realistic personâ&#x20AC;&#x201C;â&#x20AC;&#x201C;but I try to stay positive.

MC: How did you develop your unique delivery? Did you have any vocal coaching?

Howard: No vocal coaches. I took The History of Music in my school. A lot of people compare me to Janis Joplin, and sheâ&#x20AC;&#x2122;s great for any girl who wants to be a singer, but I didnâ&#x20AC;&#x2122;t say Aretha

BUUFOEJOH B QTZDIPMPHZ DMBTT BU &BTU -JNFTUPOF )JHI 4DIPPM r 5IF 4IBLFT XFSF VOTJHOFE XIFO UIFZ recorded their debut, Boys & Girls. Its sucDFTT MFE UP UIFJS TJHOJOH UP "50 3FDPSET r 8JUI Sound & Color "MBCBNB 4IBLFT CFDBNF UIF Ă STU GFNBMF GSPOUFE SPDL CBOE UP UPQ UIF MJTU XJUIPVU IBWJOH Ă STU DIBSUFE B 5PQ TJOHMF PO UIF #JMMCPBSE )PU r #PC -VEXJHmmXIP QSFWJPVTMZ DPMMBCPSBUFE XJUI -FE ;FQQFMJO XIP 5IF 4IBLFT have cited as an influenceâ&#x20AC;&#x201C;â&#x20AC;&#x201C;mastered Sound & Color.

'SBOLMJO BOE +BOJT XFSF NZ POMZ PQUJPOT 5IFSF is no gender in music. I looked to people who XFSF HSFBUÂ&#x2021;-PVJF 1SJNB +BNFT #SPXO MC: How do you maintain your voice and keep it from burning out while on a long tour?

Howard: It usually holds up pretty well. The most important thing is to not stay up late. And ZPV WF HPU UP ESJOL MPUT PG XBUFS BMM EBZ ,FFQ your vocal chords wet at all times, donâ&#x20AC;&#x2122;t let them ESZ VQ * TMFFQ XJUI B IVNJEJĂ FS PO UIF CVT * party a little bit on a day off, but I donâ&#x20AC;&#x2122;t party otherwise. Itâ&#x20AC;&#x2122;s not as glamorous as everyone believes.

MC: )PX IBT "MBCBNB 4IBLFT XPSLFE XJUI JUT management team?

Howard: 8F SFMZ PO UIFN UP IBWF UIBU LJOE of knowledge we donâ&#x20AC;&#x2122;t have. Itâ&#x20AC;&#x2122;s good to have TPNFPOF XIP T FYQFSJFODFE 4PNFUJNFT ZPV

r 5IF 4IBLFT TIPU UIF WJEFP GPS UIFJS TJOHMF i%PO U 8BOOB 'JHIUu XJUI %BOOZ $MJODI BU $BQJUPM 3FDPSET 4UVEJP " XIFSF 'SBOL 4JOBUSB 5IF #FBDI #PZT BOE NBOZ NPSF have recorded. r +BDL 8IJUF HBWF UIF CBOE IJT TUBNQ PG approval by taking them on the road for a series of concerts in 2012. His record MBCFM JTTVFE BO "MBCBNB 4IBLFT DPODFSU record, Live at Third Man Records. r )PXBSE BOE NFNCFST PG IFS TJEF QSPKFDU Thunderbitch, were robbed at gunpoint in late 2012, although no one was reportedly injured. r *O "QSJM "MBCBNB 4IBLFT QFSGPSNFE BU UIF 8IJUF )PVTF

donâ&#x20AC;&#x2122;t have that luxury. In our case, we had a GSJFOE JO 1BUUFSTPO )PPE GSPN %SJWF #Z 5SVDLers, and he heard us playing at this festival in Alabama, and they came and asked us if we needed help, and we said, â&#x20AC;&#x153;Yeah, we donâ&#x20AC;&#x2122;t LOPX IPX UIJT NVTJD JOEVTUSZ UIJOH XPSLT u MC: )PX EJE ZPV Ă OE PVU ZPVS OFX BMCVN IBE gone No. 1? How did you react? Has it changed your outlook on the band?

Howard: My manager told me. Itâ&#x20AC;&#x2122;s interesting, because we havenâ&#x20AC;&#x2122;t had much time to celebrate. I donâ&#x20AC;&#x2122;t even think about celebrating. I think about writing.

MC: Now that youâ&#x20AC;&#x2122;ve notched a No. 1 album and three Grammy nominations, what are your PUIFS HPBMT GPS UIF "MBCBNB 4IBLFT Howard: Iâ&#x20AC;&#x2122;d like to write a third record thatâ&#x20AC;&#x2122;s still exciting to me, and material that is challenging.

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qsc.com Š 2014 QSC Audio Products, LLC. All rights reserved. QSC and the QSC logo are registered trademarks of QSC Audio Products, LLC in the U.S. Patent and Trademark Office and other countries.*Source:MI SalesTrak 2010, 2011,2012,2013. MI SalesTrak is a registered trademark of Marketing Information Services, Inc. in the US Patent office.

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Iâ&#x20AC;&#x2122;d like to marry this world of fringe music with something that you can dance and groove to, but still make it interesting.

I think all my inspirations are creative ones. If you dwell on financial success then it will come, but itâ&#x20AC;&#x2122;s not my motivation. I want to leave this legacy for my children and grandchildren.

Iâ&#x20AC;&#x2122;m in over my head, I donâ&#x20AC;&#x2122;t think of you And bits and pieces, I think of you only like a miracle Lovinâ&#x20AC;&#x2122; so deeply, I feel it through all my past lives It feels good, Iâ&#x20AC;&#x2122;m never saying goodbye It feels good, Iâ&#x20AC;&#x2122;m never saying goodbye

MC: Are you planning to start a family soon?

Howard: Iâ&#x20AC;&#x2122;m not sure; itâ&#x20AC;&#x2122;ll happen naturally.

The guys on the road have kids and it works out. Of course itâ&#x20AC;&#x2122;s hard, but lots of people have families they have to leave behind. The touring, itâ&#x20AC;&#x2122;s not glamorous, and I donâ&#x20AC;&#x2122;t like things to be monotonous.

Iâ&#x20AC;&#x2122;m in over my head, over my head Iâ&#x20AC;&#x2122;m in over my head, over my head Silence, they explain it to me Thereâ&#x20AC;&#x2122;s no joy I can take with no one worth waiting Here for now, but not for long Whether my mind slipped away, explain that to me

MC: How do you keep your mind off the monotony while touring?

Howard: I donâ&#x20AC;&#x2122;t think about it. Iâ&#x20AC;&#x2122;m glad we have more songs to choose from and can get a little more creative with our set lists, but the crowds are always great, always cool and really happy to be there.

MC: Do you change up the set list?

Howard: We mix up the set lists all the time, unless we get a really good one. You can try different things with the crowd, see if theyâ&#x20AC;&#x2122;ll do this, do that. People are hilarious, Iâ&#x20AC;&#x2122;m up there talking to them, we say all kinds of things. Weâ&#x20AC;&#x2122;ll have conversations.

On one occasion, this guy was yelling for Steve. I talked with him about that. It makes every show different. Anything you can do to spice it up. The further you put yourself out there, the more vulnerable that you become.

MC: How do you stay vulnerable, as youâ&#x20AC;&#x2122;re becoming a more seasoned musician?

Howard: Vulnerability is putting yourself in that song, being in that moment and thinking of that moment or whatever inspires the song and remembering it and really connecting to it.

Not just playing parts a, b and c, but actually playing like a player. Like you picture yourself in a movie and you are a soundtrack and youâ&#x20AC;&#x2DC;re try to bring yourself into that moment. Thatâ&#x20AC;&#x2122;s what music does. Itâ&#x20AC;&#x2122;s nice to feel like youâ&#x20AC;&#x2122;re connected to someone.

Contact erin@umusic.com, facebook.com/ theAlabamaShakes

Iâ&#x20AC;&#x2122;m in over my head Loving so deeply, Iâ&#x20AC;&#x2122;m in over my head

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A FEW MONTHS AGO I met with a band who were planning their next recording.

We began discussing time frame and logistics in order to figure out how their time and money would be best spent. At some point in the conversation, I casually enquired about how many days they had allotted for pre-production. Slackjawed and confused, to a man, the band and their management all stopped speaking and stared at me as if I’d just recited a sonnet in Ancient Greek.

“Pre-production? What’s that?”

Over the past 10 years, I’ve become increasingly surprised by how many artists are ready to waltz straight into a recording studio without doing pre-production or prep-work. Still more surprising is how often people who comprise the support teams of many artists–– such as managers, A&R, publishers, even some record producers–– completely ignore pre-production because they figure it’s unnecessary or a waste of time.

A Few Basic Premises Actually, pre-production is one of the most essential stages of a recording project—perhaps the most essential. I see it as an insurance policy which guarantees that every aspect of every song I’m producing will be functioning properly (and the band/artist will be performing them as flawlessly as possible) by the time recording begins.

I can summarize the process of pre-production by breaking it down into four parts: analysis, discovery, revision and implementation/rehearsal. First, the music is analyzed; through that analysis, flaws are discovered; through discovery of these flaws, repairs are made and through rehearsal, the repairs are implemented and the music is improved.

As well as improving an artist’s music, preproduction helps direct him to work methodically and, thereby, smarter. By introducing organization into the creative process––which, by its very nature, can be highly disorganized––pre-production saves time on a recording project (which also means saving money, and that is especially

beneficial for artists with small budgets).

It also provides an opportunity for the artist(s) and the producer to work together under “real world” conditions, instead of initializing their working relationship in a recording studio. This approach tends to set a better tone for the rest of the project.

Of course, the pre-production process can be difficult and even awkward at times.

There’s nothing comfortable about having your babies––the fruit of your creative womb––rent asunder by someone you barely know and don’t yet fully trust.

However, the objective examination of your

together and how they use instrumentation to facilitate (or impair) each song. All these notes become an initial jumping-off point for the work we will be doing in pre-production.

I also make a habit of checking in with the artist to share my ideas, so he can start applying some of them to his songs. Initially communicating one on one is sometimes more relaxed than doing this while surrounded by a group of

“DIGGING INTO THE DNA OF A SONG ALWAYS ILLUMINATES IT IN NEW AND UNEXPECTED WAYS.” material prior to recording is also a necessity. In over three decades of producing records, nearly every artist I’ve worked with has acknowledged that the pre-production work we did played an essential role in taking their work to the next level. Most of the recordings I’ve produced––such as Soundgarden’s Superunknown––wouldn’t even exist in their present forms without extensive pre-production. And that is the end result that always justifies the means.

Analysis and Discovery Since I’m producing the artist’s music, I need to know it intimately. By listening to the artist’s demos, I develop an impression of the material and of the artist as a creative individual. This means I have to be everything from a songwriter to an arranger, to a psychoanalyst.

I listen to all the music we will be recording, as well as previous work the artist has done (including material he may have that is in various states of completion). All of this gives me greater insight––as well as context––to the music—and the artist. By simply being aware of how the music is making me feel as I listen to it (whether that’s good, bad or indifferent) the impressions I form about it come naturally.

The listening process initiates an internal dialog in me. That internal dialog involves questions such as: r What do I feel is the artist’s intent? r What is he saying––or trying to say––through his songs? r How does he project himself into his songs? r Am I getting a complete sense of who he is, or is something missing/being hidden? r What is this artist’s strongest asset? r What is he best at? r What is his weakness? r Does he rely on his strongest or his weakest asset to express himself musically?

I also start keeping notes that include my thoughts about the material (and fixes for problems I’m encountering), as well as the internal dialog and any additional impressions I may have. I also keep notes about how the band play

people in a rehearsal room. This makes it easier for the artist to feel comfortable with me and thereby, more receptive to input.

After a few weeks of prep-work, we are ready to begin pre-production.

Working With the Material (Revision) Pre-production is always most effective when the artist/band shows up with songs as finished and rehearsed as possible (regardless of any changes that will be made to them). This may seem obvious, but some artists avoid addressing loose ends in their material (occasionally, until well into the recording process).

As an example, when I began producing Untouchables for Korn, they had over 40 unfinished song ideas––nearly all of which were unusable. Inevitably, we scrapped everything, started over and the band wrote the entire record during a very lengthy pre-production that lasted seven months(!).

The revision process in pre-production is an extrapolation of the analysis and discovery I initiated while prepping the record. The artist/ band and I start reviewing my notes regarding song fixes and ideas to be auditioned.

The artist/band also discuss their feelings about the songs. Every question and uncertainty about each song is addressed and we must all agree that we are satisfied with whatever solution we have arrived at before moving on.

As a group, we begin peeling back layers of the music to reveal what’s at the core, deconstructing everything in order to see how it all interacts and then, gradually replacing those layers while reintegrating the structure into a far better state than when we began. We examine everything; we see what works and we change—or eliminate—what doesn’t.

Songs are interesting creatures, as are song structures. You always know when a song structure is working, because you’re not paying attention to the structure—you’re listening to the song. However, when a song structure is problematic, you can’t focus as easily on the song because the structural issues affect the song flow.

You may have a song with great parts or sec-

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tions, but if they are structured poorly your great parts will be rendered meaningless. My experience is, you ignore structural issues in your songs at your own peril. If you don’t address them prior to recording, you will revisit the same issues later when they have become systemic; your options are more limited and your solutions more time-consuming.

When I analyze a song structure, I always consider the following elements. These categories tend to overlap, but I like to keep them separate for the sake of clarity: 1) Song Flow/Arrangement: how the song progresses and how this progression unites the song as a unified, integrated piece of music.

2) Dynamics: how elements develop in the song to maintain a listener’s interest.

3) Orchestration: which instruments are being used in the song and how.

4) Rhythmic Elements: how rhythms in the song interact and reinforce the song.

5) Integration: how all the elements integrate/ interact with one another—or don’t.

Digging into the DNA of a song always illuminates it in new and unexpected ways. Hearing a familiar song shift drastically by changing the way it builds dynamically, by altering a drumbeat so it’s more supportive of a vocal line, or by adding a melodic bass line to reinforce and interact with a vocal melody, often gives the artist a new appreciation for his material.

Often, my suggestions encourage the artist to arrive at his own solution to a creative issue. This demonstrates how symbiotic and flexible the artist/producer relationship can be when they work as collaborators. I had such a dynamic when I worked with the Red Hot Chili Peppers. They were competitive and enjoyed the challenge of finding their own solutions to issues in their songs.

As they are revised, the songs gradually become more focused and some of them begin to exhibit weaknesses that cannot be repaired.

Generally, these weaker songs simply can’t be improved since their issues are more systemic than symptomatic. At that point, they are usually eliminated.

Honing Musicianship (Implementation) The analysis, discovery and revision phases of pre-production involve examining songs under a microscope. By comparison, the implementation/rehearsal phase involves examining performance aspects of the songs from more of an overview.

After a few days of doing revisions, the focus gradually shifts more to rehearsing. Depending on the style of music, I start pre-production with a full band. Sometimes, I start only with vocals and one instrument for accompaniment in order to focus exclusively on song structure (and gradually add the rest of the instrumentation to see how everything interacts).

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No matter what instrument configuration we begin with, I focus on the rhythm section as early in the process as possible. I feel that quite often, bass and drums are treated as afterthoughts instead of essential parts of a band and I often work with them separate from the other instruments.

Why focus on bass and drums? 1) although often ignored, they are foundational, supportive and propel the other instruments; 2) they potentially provide great rhythmic and melodic counterpoint for the vocal; and 3) I feel they always sound better when played with feel and aggression, instead of being polite and stiff, but spot-on with a click.

to go from cool to boiling hot in a split second.

Perhaps one band member doesn’t like a particular song that another one wrote. One band member might become offended by another band member’s flippant comment, or someone had a bad morning prior to beginning work.

In this case, how do I––as the designated driver of this project––constructively handle ongoing interpersonal dynamics? How do I critique an artist without demolishing his confidence?

How do I keep everyone in the room happy, working well together, with the same general

“Most of the recordings I’ve produced, such as Soundgarden’s Superunknown, wouldn’t even exist in their present forms with-­ out extensive pre-­production.”

People often make jokes about bassists and drummers, but a great rhythm section makes a song come alive. On the other hand, a great song can fall apart when the rhythm section isn’t doing their job. A cursory listen to any Beatles record will thoroughly prove this point.

As I mentioned earlier, when a band comes into pre-production well rehearsed, we are able to implement changes much faster because they are prepared. This also means that we can focus heavily on nuances in their performances, relationships between the instruments, how aggressively the songs are attacked, etc. The musicians are better able to play with more intensity and get the maximum impact from their material.

Sometimes, however, a band is relatively unrehearsed prior to pre-production. When this happens, pre-production becomes a chaotic overlapping of arranging, revising and rehearsing. Suffice it to say, this is never ideal.

Rehearsing consistently makes a performer better at what they do and a better performer guarantees a better performance. Experience has shown me that people always prefer listening to a great performance than a mediocre performance that has been heavily edited.

We who make recordings are quick to believe that average listeners can’t hear any difference; but, believe me—they can tell.

Building Morale There is also an interpersonal aspect to preproduction (and record making in general).

Since creative work often boils down to people working together in a room, it involves relationships. Because I forensically analyze an artist’s creative work (with the consideration that I may have to rip some of it to shreds), the dynamic of my relationship with the artist can be affected.

Generally speaking, people doing creative work in any environment are happy and productive. Conversely, an environment inhabited by a group of artists jointly working on the foundation of a creative project is fragile and potentially volatile.

Along with each individual’s ideas, his ego is also on the table. Depending on a variety of factors, anything can cause the mood in the room

goal in mind while navigating around any stray agendas that might be detrimental to the project?

Apart from helping hone the artist’s material, my job is to maintain stability. In this aspect, I have to be an office manager, a psychologist, a parent and a traffic cop.

To handle those roles well, I come into preproduction prepared. This starts by knowing all the music and having a comprehensive plan to make it better.

And, to reinforce that, I come in calm and relaxed. In a work situation involving multiple individuals, one person’s mood and state of mind can affect everyone else’s mood (as well as their ability to concentrate); hence, maintaining my calm helps everyone keep theirs.

For this reason, I always make sure to leave my personal issues outside the rehearsal studio door. I also try to meditate prior to starting work.

If there is a disagreement, my responsibility is to maintain a constant overview of the situation.

Remaining calm facilitates a better sense of that overview.

I am also conscious of not getting sucked into anyone else’s personal drama. Drama is seductive, especially in a creative environment.

However, it serves absolutely no purpose when it manifests in a group of people trying to work.

Looking past the cause of drama enables one to maintain clarity.

When I see what is at the root of a specific problem, I parse out all the individual elements that make up the problem and present them to the artist as concrete facts with concrete solutions. I find that people often get frustrated because they are trying to address a multitude of stressful things at once, instead of separating them and dealing with them one at a time. Bringing clarity to a situation makes it easier to defuse.

Providing critique is an essential aspect of my role. When I critique or share ideas with an artist, I keep in mind that the artist may be extremely close and attached to his work; hence, I do it with care. Often, the way information is presented is as important as the information itself.

The most important thing of all is keeping the creative atmosphere positive and upbeat. The best way to do this is to make sure there is a constant sense of progress. Few experiences are better than hearing a familiar piece of music transform, reveal all its potential and recognizing your own contribution to this metamorphosis.

Some Final Thoughts for the Artist Producing an artist implies that there is a collaboration between the producer and the artist.

Even if a producer has written songs for an artist’s project, the artist’s name is still the first thing people identify with that project.

The relationship is symbiotic, not hegemonic.

An artist may consistently defer to a producer by choice; however, this is not appropriate if the artist disagrees with the producer or feels compelled to speak his mind.

What you create is based largely on your own creative instincts. Therefore, as an artist, while it is imperative to accept input, it is equally imperative to trust your instincts and to assert yourself when the situation calls for it.

You may find yourself working with a producer, perhaps someone with a lot of credits and success behind him. Things may be progressing smoothly when, suddenly, he drops an idea on you that you don’t like. In fact, it is an awful idea, one that has (at least, in your mind) absolutely nothing to do with the kind of record you want to make.

What do you do?

Obviously, being open-minded and tactful is a lot more valuable to you than being quick to reject the idea without giving it a chance. Since it might help you to understand why he made the suggestion, you can ask him to explain it.

Perhaps, after he has explained his idea, it still doesn’t make sense. In this case, the next step might be to tell him that although you are still unclear about what he’s going for, you are open to trying his idea, but with conditions. The first condition might be that you’ll try his idea, but you might also want to try your own idea in place of his and compare the two. The second condition might be that if his idea doesn’t work––even after living with it for a time—the song will be restored to the way it was.

This way, a potentially difficult situation becomes a reasonable compromise; one free of conflict where everyone stands to win.

One of my favorite quotes is from novelist William Faulkner and it reads, “In writing, you must kill all your darlings.” The killing of your darlings, which in this case might be losing a song part that you love but simply doesn’t work, is one of the most difficult—and transformational––things that you can do as an artist.

Change is difficult, but it is also the essence of pre-production. The less resistant you are to change and new ideas regarding your work, the more fruitful the creative process becomes.

And… In spite of their misgivings, I managed to convince the band at the beginning of this article that they needed to budget a few days in their schedule for pre-production. They agreed to try it for two days. They were so surprised by how much better their songs became that, at the end of the second day, they insisted on three more days.

PERFORMANCE ANXIETY, red-light fever, whatever you want to call it . . . we’ve all seen people in a variety of creative environments fail in epic fashion (and the experience is even more profound when the person failing is you). To describe this situation, I use the term fold, from poker (which I do not play, as life is enough of a gamble already), because it feels appropriate under the circumstances. In my experience, it can be incredibly beneficial to recognize these potential signs in advance of someone folding, especially on a recording session where time is money and, these days, little of either is in great supply.

A band member may be ready to fold when: 1. He suddenly becomes unusually quiet, if he is normally talkative.

2. He suddenly becomes unusually talkative, if he normally doesn’t speak much. In either case, he begins acting out of character.

3. He starts having fits of erratic, nervous behavior that call undue attention to himself.

4. He starts to have trouble recalling his parts—even if they are simple. Notice when this begins out of nowhere and becomes a consistent habit.

5. If he is using a notational system to record his parts (or a recording device to recall and memorize them), he either forgets to use it or he selectively employs his system to the extent that his notes are sketchy and they wind up being useless.

6. He plays songs he’s supposed to know differently each time, even after he’s been given detailed road maps or created his own.

7. He becomes reticent and occasionally hostile when these issues are brought up to him (or if his proficiency comes into question).

8. He starts apologizing profusely for his performance (and for a variety of other things).

9. He starts (resumes or continues) some form of substance abuse unbeknownst to anyone else on the project. At some stage in the process, this substance abuse becomes obvious.

10. He begins to drift away from the other people on the project, spending more time on his own. This becomes conspicuous especially if he is close with some of the other musicians.

11. He becomes more emotionally fragile and easily intimidated by things that appear relatively harmless.

12. He seems distant and distracted all the time.

13. He may have had a recent upheaval in his personal, emotional or psychological life.

14. He occasionally seems terrified and/or disoriented.

15. He starts sweating a lot for no reason.

16. He has an air of failure about him, is utterly lacking in confidence and begins to make disparaging comments about himself.

17. His appetite fluctuates from day to day (mainly eating less).

18. He seems thoroughly dejected but actually appears relieved when he is told that he needs to be replaced.

19. It becomes apparent (or it comes to your attention) that he’s abusing a substance.

Often, people who are in this state have a very distinct aura about them. It’s best if they can be identified immediately, taken aside and coached through whatever issue they’re dealing with. Occasionally, and only if absolutely necessary, there is no option but to replace them. If not addressed, their presence can affect the performance of other individuals in the creative space. – Michael Beinhorn

MICHAEL BEINHORN has produced a variety of artists such as Herbie Hancock, The Red Hot Chili Peppers and Soundgarden. Michael is outspoken about the importance of artist development and preproduction. He has written a book called Unlocking Creativity, which addresses these topics, and record production, as an expressive creative process.

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– BOBBY BORG

Get the Most Out of Music Business Blogs Y

to click on at least one or two of the links so that you can verify the information you are reading and get a deeper understanding of the topics. You’ll be glad you did.

1. Choose Trusted Sources. Seek out quality blogs where you can be assured that experienced authors and editors are striving to release well-written, objective information that is not manipulated only to promote their own cause. Try Billboard, Wired, MusicConnection. com, DIY Musician Blog and Leftsetz Letter.

6. Comment Critically. Reflecting on a blog post and offering your own opinion helps to strengthen what you’ve learned, but just be sure to express it critically and offer something of value for all to further benefit. Writing critically involves two steps: First show that you understand what the author is saying, and then express your own argument. Be sure

ou surf the web from one music business blog to the next, scrolling through a variety of tips and articles. But just how productive are you being? Find out by reading these 10 helpful tips.

2. Read Thoroughly.

According to an article by Jakob Neilsen posted by Neilsen Norman Group (nngroup.com/articles/ how-users-read-on-theweb), people rarely read Web pages word-by-word; instead, they scan pages, picking out individual words and sentences. While this might be suitable for articles written in a specific style, I have personally found it to be detrimental to some of my students, who often misinterpret key points. To truly benefit from blog posts and from the time you invest online, read the articles from beginning to the end, consider the tone of the author and evaluate objectively what the article is really all about.

how wonderful your service is. To read more on the dark art of hijacking, visit bandt.com. au/marketing/battle-brands-behind-hijack.

8. Quit Trolling and Wasting Your Time.

Sadly, the web is loaded with angry people looking for any chance to vomit their bitterness on others, and they usually do this while hiding behind goofy usernames like Jack Hoff or InternnetHater666. If this is you, why not put all you energy and fire into something more productive like “fixing” the music industry and all you hate about it. Maybe you can use the various blog articles you read as inspiration to publish your own book or innovate a solution to all the problems of the world.

Seriously! You can do it! We’re all rooting for you and you’ll use your precious time on this earth more productively and make the Web or more enjoyable place for all. For more information on why people troll, see this article published by Psychology Today: psychologytoday. com/blog/better-livingtechnology/201408/why-theonline-trolls-troll.

9. Use What You Learn.

Reading all of the blog articles and tip columns in the world won’t do anything for you if you don’t put the information to good use. Information is only as good as your desire to execute it. Don’t wait for tomorrow to do what you can do today. Roll up your sleeves and get to work on doing a few of the cool things that you’ve read in the last week.

3. Consider the Intended Audience. While it never “Information is only as good as your desire to execute it. hurts to review practical sound advice, spend your valuable Don’t wait for tomorrow to do what you can do today.” time reading articles that are really intended for you. Pay attention to the title of an to refer specifically to the text to which you article, the target audience of the blog and the 10. Show Appreciation. Finally, to help you are referring, back-up what you have to say opening paragraph of an article. While this get the most out of blog articles and tips on with links to trusted articles and journals, and might seem like common sense, I’ve observed the web, why not start by thanking the authors leave your real name and email for those who that sense isn’t always so common. I’m always and letting them know you appreciate their might like to further converse on the matter. blown away when someone comments on an time and effort. The average blog article can To read more about writing critically, check article with “great advice, but only if I were a take anywhere from one to three hours to out this white paper from the University of beginner,” when the article is titled “10 Tips to write, and yet it generates zero compensation!

Washington: depts.washington.edu/pswrite/ Starting Your First Band.”

Yup, that’s right! Many bloggers work for Handouts/CriticalAnalysisPapers.pdf. nothing! Surely, they benefit by strengthening 4. Seek to Learn. Assuming that you value their brands and generating attention to their 7. Give Back Rather Than Hijack. While on your time and energy and you have a positive other services, but I’ve seen great bloggers the topic of posting comments, let’s discuss outlook on life, always strive to take away quit because they failed to see this value. hijacking—the process of stealing the spotlight something useful from each and every blog You won’t like everything that you read, but away from certain blog posts to sell your own article you read. The music industry is very thanking the occasional blogger will certainly services or agenda. Some marketers say that complex—and as history as shown us time incentivize him or her to continue posting the this is a fair-game (albeit aggressive) method and time again—there are more methods to quality, free advice that you need to succeed of marketing, but did you know that you can achieving success than just the ones that you in this lovely business of music. utilize blogs to get more marketing bang for believe in and have executed successfully. your time and energy? That’s right! You can Keep an open mind and you’re likely to pick up write your own articles, be seen as a thought a few new skills!

BOBBY BORG is the author of Music Marketing For The leader, and own your own audience. Many of DIY Musician: Creating and Executing a Plan of Attack On A Low Budget (Sept. 2014). The book is available on the the blogs that you read are usually looking for 5. Follow the Article’s Links. Good articles Hal Leonard website under “Trade Books” bit.ly/1po5FyO guest bloggers just like you? Seriously! So usually have one or two links where you can (ISBN: 9781480369528), AMAZON amzn.to/X4Fwst, or why not just contribute your own articles and obtain further information on a specific point.

Bobby Borg (bobbyborg.com). be the star? Show us how smart you are and While you can’t spend all day online, be sure 44 August 2015

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– BRETT BUSH

X AMBASSADORS

Artist Development Again Pays Off For Alex da Kid

W

hen cross-genre, GRAMMY-winning producer Alex da Kid (Nicki Minaj, Dr. Dre, Eminem, Imagine Dragons) began working intently in the studio with X Ambassadors, he had not yet signed the band. And once the band did sign with his KIDinaKORNER (Interscope) label in 2013, it would be two years before their full-length release, VHS. “It’s not about a timeline, and this is not a vanity label,” says Alex. “I’m trying to create great artists.”

Alex da Kid (Alex Grant) first heard about New York City-based X Ambassadors from Imagine Dragons frontman Dan Reynolds.

While on tour in the Southeast in 2012, Reynolds heard the song “Unconsolable,” from the band’s independent debut EP, on local radio, and recommended that Alex listen to it.

the meeting was for 11 p.m.!”

Once the two did connect that evening, they found mutual interests, and according to both parties, talked for hours about music. “Alex told me, ‘Be prepared not to do anything other than this,’” recalls Harris. “That was not a problem for me; I was already committed.”

Once back in the U.S. in January 2013, Grant flew Harris out to Los Angeles, where KIDinaKORNER is based, followed shortly by the rest of the band. The group spent a couple of weeks in the studio, writing and eventually recording an EP, before signing a deal. “There was another deal on the table, and some others dancing around and talking,” says Harris, “but they all wanted a record of songs that sounded like ‘Unconsolable,’ and that song was an anomaly.”

released the EP Love Songs Drug Songs in 2013, co-produced by Alex da Kid, Imagine Dragons’ Dan Reynolds and Dan Stringer.

Why did Alex da Kid choose this approach?

“You only get one shot once you put out a full release,” he warns. “If you throw them out too early, it can destroy everything. I need to get the chemistry with someone in the studio, and that can take time. It all comes down to instinct. I run band development from a creative perspective, not a schedule. You run a chair factory on a schedule.”

“We never stop writing. We’re still writing, constantly, after delivering the album,” he adds.

“So many artists release a first album that they had all their life to write. And then you have two months to create the next one. And fame can destroy the art.”

NATALIA MANTINI

“We waited until we worked with Alex for a couple of weeks to discover what our relationship would be.” –Sam Harris

l-r: Adam Levin, Sam Harris, Casey Harris, Noah Feldshuh On that referral, Grant did some research. “I went online and checked out all their videos, interviews, not just their music,” he says.

“Chemistry is important, and I wanted to make sure it was there.”

“When we got this mysterious email from Alex’s people [in late 2012], we didn’t know who he was,” says Sam Harris, lead singer for X Ambassadors. “We looked him up and he had all these amazing credits. It was hard to believe.”

After a phone call with Grant from their manager’s office, the next step for Harris was a meeting in the producer/label owner’s native London, where Harris happened to be visiting family over the Christmas holidays. “I got off the red-eye and was supposed to meet him at this fancy restaurant at 11 a.m. I went straight from the airport, looking pretty ragged and out of place. I waited for an hour, and finally found out

To backtrack, X Ambassadors are originally from Ithaca, NY, and moved to New York City to concentrate on making a career out of the band. On the strength of their self-produced 2011 debut EP, and the Spotify popularity of the ballad “Litost,” they received enough awareness to secure a management deal (with Seth Kallen/This Fiction) and a booking agent.

The regional radio success of “Unconsolable” provided additional buzz and label interest.

So the band was somewhat savvy about the business before connecting with Alex da Kid, had played plenty of shows and had a fan base.

“We waited until we worked with Alex for a couple of weeks to discover what our relationship would be,” says Harris. “The best approach is an organic approach. Soft, quiet releases are the way to do it; to develop a band for a major release.” So X Ambassadors, under the flag of KIDinaKORNER/Interscope,

It doesn’t hurt to have the deep pockets of Interscope, and their influence. The single “Renegade” can be heard currently not only on the radio, but in a national Jeep TV commercial. “I was skeptical about partnering with a corporate brand,” Harris muses, “but it’s not so taboo anymore. The experience was authentic—they didn’t tell us what to wear or anything. People recognize when something like that is fabricated.”

“Any other label would have dropped us after the first EP didn’t blow up,” says Harris. “But our initial deal was for one EP and one LP, and as of now it is for four to six LPs.” VHS was released on June 24 on KIDinaKORNER/Interscope. X Ambassadors are touring the U.S. and Canada through the fall.

Contact Lindsay Bailey, Lindsay@stuntcompany.com

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Samantha Crain

Under Branch & Thorn & Tree

6

Drifting Sand Summer Splash

6

Ramseur Records Producer: John Vanderslice

Pina Colada Records Producer: Rick Escobar and Surfer Spud

There’s magic in a voice so tender it might crumble to dust in a modest gust of wind.

Wisely, the folksy vocals on Crain’s fourth album sprinkle this wizardry on every moment, infusing her lyrics with heart-stopping grace––which makes the album’s failure to elicit an emotional response from the listener curiously incongruous. Add a lack of stylistic diversity and a nagging sense of déjà vu and suddenly the elegant beauty of the Oklahoman’s deft warbling becomes insufficient reason to recommend this antiseptic bundle that promises more than it delivers. – Andy Kaufmann

Recreating the spirit of the early ‘60s surf/ sun/fun pop era rides a fine line between parody and sincerity. The cartoony Spongebob delivery and goofy attitude of most of the vocal tunes here render things, well, kind of CORNY. Where Drifting Sand truly excel is on the surf instrumental tunes, which are all near perfect, and veteran instrumentalist Rick Escobar definitely hits the home runs in that department. The production is excellent overall, but the band needs to decide whether they are providing entertainment for adults or for the 8-year-old set. – David Arnson

Dead Rock West

Matt Jaffe & The Distractions

It’s Everly Time

Angel Flight Recording Co. Producer: Mark Linett

9

7

Blast Off

On the fifth album for the alt-country duo, Cindy Wasserman and Frank Lee Drennen authentically cover a wide cross-section of classic Everly Brothers. From hits like “Cathy’s Clown” and “Let it Be Me” to rarities such as “June is as Cold as December,” they offer a treasure of harmonic delights.

Wasserman and Drennen’s chemistry seeps into one’s consciousness.

And the studio band features members from Lou Reed, X, The Blasters and The Cars. The result is a live-session vibe like there used to be when giants like The Wrecking Crew ruled the roost. – Eric A. Harabadian

Leon Bridges

8

Coming Home

Elm City Music Producer: Matthew King Kaufman Discovered by Talking Heads’ Jerry Harrison, Matt Jaffe is a fresh talent who infuses new life into classic rock & roll. He’s got the plaintive vocal stylings of Chrissie Hynde, the wry wit and attitude of Elvis Costello and the guitar-propelled rawness of Paul Weller. This five-song EP is a brief window into the world of this teen dynamo. Songs like “Stoned on Easter” and “Write a Song About Me” display an irreverent devil-may-care approach that shows he’s done his homework. But, while Jaffe still needs to find his voice, he is certainly on the right track. – Eric A. Harabadian

August Burns Red Found In Far Away Places

9

Columbia Records Producers: Niles City Sound

Fearless Records Producers: Carson Slovak, Grant McFarland

Like a traveler through some sonic time machine, Bridges channels vintage soul power and commands it in the present. With classic vocal cool and rich organ/female singer/horn backing, he evokes the era of Sam Cooke, Jackie Wilson et al. Highlights include “Smooth Sailing,” the gospel-intensive “Pull Away” and “Shine” and the grooving “Brown Skinned Girl.” The sweetness in Bridges’ vocal tone and the endearing persuasion of the arrangements provide faithful homage to a time of innocence and wonder as Bridges takes us directly back to the proverbial day. – Dan Kimpel

August Burns Red have built a faithful metalcore following with a relentless tour regimen and by releasing a full-length every two years. On this, their sixth album, the band strive to keep their fanbase while grasping a new audience—proggers. Standouts include “Everlasting Ending” (featuring Paul Waggoner) and their furthest creative stretch “Majoring in the Minors”—a metalcore foundation filled with cowboy/western melodies. The deluxe release features a midi version of “Identity,” reminding this reviewer of the mid-‘90s video game soundtrack to DOOM. – Andy Mesecher

Creepoid

Carly Rae Jepsen

Cemetery Highrise Slum Collect Records Producer: Peter Mavrogeorgis

7

Best album title ever! Despite the group’s name, Creepoid is not a goth band. Rather, these Philly-based lads and lass came up with some dreamy, swirly, semi-psychedelic pop reminiscent of ‘80s alt-psyche, but with more London flown in. Heady guitar layers dominate most songs, such as the pretty “Fingernail,” and then the drums kick in on “Dried Out.” The album doesn’t carry through, however. While the songs are all pretty good, there is a lack of momentum and it almost sounds like back in the old days with a turntable and the record is on the wrong speed. It is a good, hypnotic collection to fall asleep to on a hazy summer afternoon. – Brett Bush

%s-/s4)/.

Schoolboy Records/Interscope Producers: Various

7

With her third studio album, Canadian pop sweetheart Carly Rae Jepsen delivers an ode to ‘80s pop music, especially in the instrumentation of synths and infectious drum beats. Undoubtedly, Jepsen has crafted an album embedded with catchy bubblegum pop tunes that will get stuck in your head while you’re soaking up summer sun by the pool. On the other side of the coin, the songs sound too similar to one another and are marred by trite lyrics—minus one notable gem: “All That,” a tender, sensual piano ballad that gives us an overdue glimpse of the artist maturing into womanhood. —Siri Svay

To be considered for review in the Album Reviews section, you must have a record deal with a major label or an independent label with an established distributor. If you do not, please see our New Music Critiques section.

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Production Lyrics Music Vocals Musicianship

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9 7 8 8 8

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Robyn Cage

Nalani & Sarina

Contact: robyn@robyncage.com Web: robyncage.com Seeking: Label, Mgmt, Publicist, Film/TV Style: Piano-based Alt-Pop

Contact: nalani.sarina@gmail.com Web: nalanisarina.com Seeking: Label, Booking, Film/TV Style: Pop, Rock, Soul

We really like this artist’s voice and her sonic vision that almost seems to exude sensual heat vapors. Cage infuses “Burning Now” (her apology to a lover she has driven away) with a breathy, aching emotion accompanied by a mournful piano that’s bathed in a bucketful of reverb. The song has strong moments that could be strengthened by some trimming/editing. Continuing her fire imagery, the vivid characters and events in Cage’s “The Arsonist & The Thief” proves her to be a captivating storyteller. Our favorite is “If You Don’t Try...” whose hook sinks in slowly but surely. Film/TV prospects are strong for this artist, whose songs are for the brokenhearted and whose voice is nothing if not seductive and compelling.

Twin sisters, Nalani & Sarina combine for songs that are as forthright and upbeat as they are sonically organic and pristine, with echoes of their classic influences in every nook. “We’ll Be Free” is a perfect example of the duo’s urgent, almost activist spirit on a song that could either motivate a march or spur a riot. Its lyrics suggest the tune could be a candidate for an LGBT anthem. “Scattered Girl” drives home its catchy chorus (“I don’t know what to do with myself, myself, myself”), but it is the (Taylor) Swiftian piano ballad, “Runaway,” that most caught our ear, enhanced as it is by a rich orchestral arrangement that tugs the heartstrings.

Though musically ideal for film/TV, its lyrics are probably too specific as underscore.

Production Lyrics Music Vocals Musicianship

8 8 8 8 8

Anything But Broke

i2Pablo

Contact: anythingbutbroke@gmail.com Web: anythingbutbroke.com Seeking: Booking, Film/TV, Mgmt, Publicity Style: Electronic Dance Music

Contact: aforpablo@gmail.com Web: reverbnation.com/i2pablo Seeking: Label, Film/TV, Distribution Style: Hip-Hop/Rap

This Florida-based producer/DJ’s tracks demonstrate a variety of vibes and have a deep-space resonance that’s ideal for festival shows. “Summer Sunset,” which sounds like a spirited conversation among caffeinated synthesizers, is, bottom-line, a memorable theme (if a wee bit long). “Makalu” shows off the artist’s use of escalating rhythms, percussion builds and hard/soft dynamics, though we would have liked more impact from his third drop. Husky-voiced Jodie Topp guests on “We All Want Love,” and her rangey authority is well-suited to EDM and the song’s encouraging message of ecstatic love. Anything But Broke should be anything but absent from your next festival. Are you listening, HARD fest?

African artist i2Pablo has a not unexpected accent to his vocals and a world music essence to his songs, but he’s nevertheless accessible to western listeners. Okay, maybe not “Full of Hype,” (feat. Charmbuck), which bewildered our American ears while still being pretty catchy. On the downside, the track gets too repetitive after the 3-minute mark. The next two tunes we heard, “Many Sisi” and “I Like It,” are all-out winners; the former’s tribal beat, accented vocal and playful spirit reminds us of Sean Paul, while the latter song generates a happy, carefree jubilation that would enliven an animated film sequence. It’s both worldly and commercial, and the track’s effects, including autotune, enhance its overall production.

Production Lyrics Music Vocals Musicianship

8 8 8 8 7

Charlywood

Chris Quality

Contact: andy@charlywood.com Web: charlywood.com Seeking: Label, Mgmt, Film/TV, Publicity Style: Indie Pop Rock

Contact: knockfaceent@gmail.com Web: chrisquality.com Seeking: Publishing, Film/TV, Distr.

Style: Hip-Hop, Soul, Chiptune

We haven’t heard a more super-catchy, radio-ready tune this year than “Playback,” by these formidable Vienna-based ex-pats.

Cheery, upbeat, sunny, the song’s impassioned vocals are hard to shake off. All of which makes the other tunes submitted–– “Are We Together Yet?” and “Testify”—a bit of a letdown. While those two songs are strong in their own right, their sudden shift from indie pop-rock to balls-out blues-rock is puzzling, despite singer Andrew Charlewood’s able game at the mic. It makes the band seem a bit schizo. As they go forward, we urge Charlywood to emphasize their obvious pop-rock skills. Film/TV folks and college radio will want to jump on “Playback” before the competition snags it.

We’re impressed by this artist’s consistent sound and vision, how he deploys a specific sonic palette of antique synth tones in creative ways. Though he is not a singer––his voice is lacking technically––he uses it to humorous effect, like artists before him, and sometimes comes off like a descendent of Sir Mix-A-Lot and others. “Whatever It Takes” and “Two Players” are standouts.

The former’s fluid verses flow along with a gaggle of classic synth sounds (right down to its chanted, inspirational chorus) while the latter’s eerily playful, vintage-video game tones are cleverly utilized and conjure a dungeon level/Halloween vibe. Chris Quality’s old-school essences and spacey, ambient sonics set him apart from the chiptune pack.

Production Lyrics Music Vocals Musicianship

8 8 8 8 7

Music Connection’s executive committee rates recorded music on a scale of 1 to 10. Number 1 represents the lowest possible score, 10 represents the highest possible score.

A final score of 6 denotes a solid, competent artist. For more information, see Submission Guidelines on the next page.

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Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

Production Lyrics Music Vocals Musicianship

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State Line Syndicate

Vinyl Soul

Contact: statelinesyndicate@gmail.com Web: statelinesyndicate.com Seeking: Booking, Radio, Film/TV, Mgmt Style: Pop Punk

Contact: contact@vinylsoulmusic.com Web: vinylsoulmusic.com Seeking: Booking, Film/TV, Mgmt Style: Latin Soul, R&B

These guys exemplify the inherent strength of the rock trio––an uncluttered, noisefree attack. We hear a bit of Blink-182 in “The Truth,” whose singalong chorus, start/stop dynamics and jackhammer propulsion are a fitting ride for singer Makeshift Mike, who proves to be a solid shouter. He also delivers a convincing heart-on-sleeve vulnerability on the deftly arranged “Amor,” conveying the pain and futility in a busted relationship.

Best of the batch is “Love Me So.” With its bouncing beat and adrenalized jubilation, the song proclaims “my baby loves me so!” A cinch to put the crazy into any mosh pit, we could easily hear this song setting the tone for a raunchy teen-flick party scene. These guys are formulaic yet formidable.

The duo Vinyl Soul are mellow to the max, organic, low-key, humanistic in flavor, not to mention possessed of a humorous spirit.

The mid-tempo “Cali” paints a vivid scene of chilling at the beach, margaritas unlimited, palm trees all around. The lead singer shows his classic soul-crooner range on “One Day,” and is effectively supported by a church-like choir. While the previous two songs omit drums and hard beats (letting the bass do the heavy lifting), “I Love You When I’m Drunk” is an engaging blues-rocker complete with honking harmonica and a full band including drummer. If there was any doubt of these players’ nimble musicianship, this song dispels it. We wanted to hear much more than the 2:11 allotted to it here!

Production Lyrics Music Vocals Musicianship

8 7 7 8 8

Magnificent Birds of Prey

Winchester Revival

Contact: magnificentbirdsofprey@gmail.com Web: magnificentbirdsofprey.com Seeking: Label, Booking, Film/TV, Publishing Style: Indie/Psychedelic/Alternative

Contact: alltheband@winchesterrevival.com Web: winchesterrevival.com Seeking: Label, Book, Film/TV Style: Alternative Rock

Hit singles? Commercial aspirations? This band doesn’t wanna know. Their main concern is clearly to create artful and intelligent (yet thoroughly raw-boned) music that is unique, unfiltered and stands on its own terms. The result is a mutation of psych-rock that’s more abrasive than the norm. This is especially so of the lead vocals, which are visceral, throat-burning, gut-punching, loaded with as much character as lack of ordinary craft. Musicianship is likewise primitive and unrefined, following the original art-punk ethos to its downstroked T. That said, these Birds take flight with “Statue,” whose lulling chimes, xylophone and yearning vocal is engaging and, gulp, not uncommercial.

Two things are clear from listening to these songs. One, this is a band with proggish aspirations; and, two, these recordings, such as “Last Night...,” suggest that they are probably at this time more compelling as a live act than as recording artists. Poorly mixed at times, each song fights to establish and maintain a foothold on the listener. While the lead vocalist seems to be an appealing enough presence, and the bassist is ubernimble, the former is undermixed and the latter is way overmodulated and distracts from the group’s expansive, indulgent song structures. This San Francisco band can indeed play––they clearly enjoy playing together––and their material is intriguing. They just need a surer hand behind the glass.

Production Lyrics Music Vocals Musicianship

6 7 7 8 8

Andre Gimaranz

Larry Roszkowiak

Contact: contact@andregimaranz.com Web: andregimaranz.com Seeking: Agent, Label, Booking Style: Indie, Blues, Jazz, Rock

Contact: lroszkowiak@yahoo.com Web: reverbnation.com/larryroszkowiak Seeking: Label, Booking Style: Country, Folk, Americana

Singer/guitarist Andre Gimaranz would surely benefit by enlisting an able singer to give voice to his material, which is pretty decent.

As it is, though, his lead vocals on tunes such as “Fearless” are as pitch-challenged as they are impassioned. Gimaranz simply isn’t able to get a firm grip on the stars he’s reaching for. Nevertheless, “Hard To Believe” has a surging cadence and South American percussion accents that together prove compelling. Most promising is “This Gift,” a sweet romantic number that’s marred by a too-hot mix of the bass guitar. All in all, this artist is capable of solid, melodically appealing music enlivened by strong musicianship.

Probably a good live act, we hope he makes adjustments to improve his recordings.

This artist’s no-fuss, just-an-acousticguitar-and-a-voice presentation on “Nobody Does It...” and “The Journey” both seem to be recorded live in a coffeehouse. His exceptionally soft, almost tentative touch on the strings and a humorous, off-key attitude at the mic add up to a performer who’s got much more character than commercial prospects. Though he marshals a full band to accompany him on “The Mule,” it’s too poorly recorded and mixed to be an improvement. Though label interest is a longshot for Roszkowiak, there are some listeners who might have an appreciation for his grizzled, off-hand, unaffected, who-gives-a-sh@! spirit and his obvious knack for clever observations about life and love.

Production Lyrics Music Vocals Musicianship

5 8 7 6 7

SUBMISSION GUIDELINES: There is absolutely no charge for a New Music Critique. We critique recordings that have yet to connect with a label or distributor.

To be considered please go to musicconnection.com/get-reviewed. All submissions are randomly selected and reviewed by committee.

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Contact: info@mpolinar.com Web: melissapolinar.com The Players: Melissa Polinar, vocals, guitar; Rob Humphreys, drums; Andrew Perusi, bass; Will Herrington, keyboard, piano; VJ Rosales, Barry Fortgang, Nina Storey, guest vocalists.

Material: Polinar describes herself as a singer/songwriter with pop and soul influences, similar to Adele and Stevie Wonder. The set includes original songs and a cover. It’s a mix of soulful ballads, like “Find You,” and a Jackson 5 influence is heard on funkier uptempo tunes such as “Off Guard.”

Polinar adds interest by welcoming guest vocalists for songs like “Happy,” co-written with Storey, who accompanies Polinar on stage to trade off and join on vocals. For her song “Above Water,” Polinar is joined

by Rosales and Fortgang, members of the acapella group The Filharmonics (Pitch Perfect 2). It is really Polinar, however, who steals the show, holding the notes, especially on “See The Stars.” For this sweet ballad, it is just Herrington on the house piano and Polinar on guitar. The audience was so entranced, they were stone quiet by the song’s conclusion.

Musicianship: The only song that felt loose was “Try,” possibly due to a nonspecific number of rounds between verses. Just the opposite was the case with “Always Need You,” where Perusi and Humphreys nailed a tight refrain and finale. Perusi really put the fun in funk for “Off Guard,” with tempo builds

Loaded

MELISSA POLINAR and tight stops. Humphreys applied shakers, brushes and mallets for a nice variety of tones. On “Above Water,” Humphreys and Herrington combined cymbal and keyboard tones that are very evocative of the song title.

Performance: Polinar worked the mic well at this show, backing off as necessary. At one point she let her Dallas accent come through, explaining, “Singing is hard, y’all.”

You would not know it from the prowess of her suspended phrasing on her cover of Eric Clapton’s “Change The World.” Herrington best exemplifies holding back his levels for the whole of the band, but he takes to the forefront

EMIL PADRE

Hotel Cafe Hollywood, CA

here, making the song his own by incorporating an impressive roadhouse blues-style solo.

Summary: The singer proclaims that she wishes sets were longer so she could play more songs.

The band’s enthusiasm for the music is equally infectious and the positive energy shows as they get the audience to sing and clap along.

Polinar’s original compositions incorporate interesting but subtle key changes and bouncy riffs. While work needs to be done to bring the guitar levels higher up in the mix, the band does have an overall solid grasp of dynamics, demonstrated in the various song bridges.

– Brooke Trout

Los Angeles, CA

Material: ART OF SHOCK’s lyric concepts are typical for metal music genres, though they carry a poetic element that adds color. “Living Like the Devil” is about defiant lifestyles and angst. The band reinforces these themes with a turbulent chorus, “We are the rebels, we’re living like there’s no tomorrow, we are the chosen ones, we’re living like the devil.” But ART OF SHOCK’s music is not limited to the rock & roll style. Other material features bolder, more creative ideas. “Deathstar Supernova” is about a force conquering and destroying the world, containing verses such as “suffocate the sun ‘til all life is gone, here comes the deathstar supernova.”

Musicianship: The band adheres to an ‘80s speed/thrash metal style but also bears a modern melodic metal sound. While this is an extremely exceptional band of players, the vocals are equally pedestrian. Art Geezar’s vocal texture and range is limited to higher pitches and lacks novelty. Fortunately for the band, the harmonic backup vocals contributed by Ertel compensate for Geezar’s shortcomings. Drummer Adrian Geezar presents a fair foundation for the music but is not remarkable.

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ART OF SHOCK Performance: Stage presence is not ART OF SHOCK’s mainstay, particularly frontman Art Geezar’s ‘80s stage gimmicks. On the upside, lead guitarist Ertel demonstrated vigor and stamina throughout the show via keen emotive playing, rhythmic action and appropriate gestures. Though the band played to a nearly packed house, the audience did not show much animation or frenzy until the final song, a rendition of Metallica’s “Hit the Lights.”

MACIE BENNETT

Contact: adriangeezar@gmail.com Web: facebook.com/artofshockofficial Players: Art Geezar, vocals, rhythm guitar; Nick Ertel, lead guitar; Adrian Geezar, drums; Sam Harman, bass.

Summary: ART OF SHOCK is absolutely relevant in the Hollywood rock club scene, where ‘80s glam and thrash metal are still alive and fashionable. However, if they intend to break through to mainstream success, the band should consider revamping their overall stage persona and, in particular, add modern rock elements that will make their sound distinctive and fresh.

– Macie Bennett

LOST LANDER

Brighton Music Hall

Allston, MA

Contact: lostlander@naturenurturemgmt.com Web: lostlander.space The Players: Matt Sheehy, guitar, vocals; Sarah Fennell, keyboards, vocals; Patrick Hughes, drums; William Seiji Marsh, bass.

Materal: Stealing inspiration from acts like The Police, Lost Lander plucks new wave’s disembodied passion from the dustbin of ‘80s nostalgia and re-contextualizes it within

Viper Room

ANDY KAUFMANN

splash welcome vibrancy into everything.

Sarah Fennell’s keyboards are augmented with occasional tambourines as frontman Matt Sheehy’s guitar explores hidden eddies of rhythm.

Luscious vocals, meanwhile, imbue their sound with a stupendous ruby soul, especially when deploying seemingly effortless harmonies.

a present-day aesthetic. Their pulsing glow hovers somewhere betwixt laidback folk via chill-doused groove and unapologetic poprock. Rather than shocking audiences with turbocharged BPM or earsplitting volume, the Portland, OR quartet entices by beaming shifting prisms of sound that swirl deep inside one’s subconscious. Lyrics present themes of interpersonal discovery in a manner that invites interpretation.

Musicianship: Surprisingly low, funky bass gives Lost Lander its heartbeat, while drums

Performance: Lost Lander’s peppy-yetreflective style lends itself to contemplative spaces better than the cavernous environs of nightclubs, yet they make an admirable effort at transporting audiences into an alternative headspace. Their laidback rapport sets an amiable tone and vocalizing the group’s name more than once on stage earns points.

A fizzled attempt at a sing-along, however, subtracts from their appeal, and slow burn intensity doesn’t naturally lend itself to thrilling showmanship. Lack of a memorable closer means their set ends not with a bang but a whimper.

Summary: Too low-octane to dance to, yet too high-energy for a proper space out, Lost Lander inhabits the netherworld in between.

An intriguing realm to visit, it’s difficult envisioning how their cool-yet-hot sound can move beyond niche status.

How to graduate from a musical curiosity into something that elevates the spirits of many will likely prove elusive. Yet once you’ve punched your ticket and hopped upon their romantic ride, earnest feels will strike your emotional core like a dazzling vista during summer solstice.

– Andy Kaufmann

West Hollywood, CA

Material: A California-based outfit earnestly offering up indie pop anthems, this recently formed quintet borrows from musical influences while maintaining an eclectic, original voice.

Working from a base of vocal harmonies and layers of sound, their music vacillates from a quiet serenity to a dramatic gut-punch, often within the same song. Although it feels like an ambitious undertaking, they seem more than up for the task.

Musicianship: Ghost Lit Kingdom are more concerned with the collective layers of sound on top of poetic lyrics rather than individual highlights or solos. The result is an incredibly tight and textured performance, with no throwaway moments. Morrow plays the vocal storyteller, with Kitapci providing the dramatic exclamation point. While composed beautifully, most of their music is built on standard time signatures with diatonic harmonies. This would entrench them firmly in the “indie pop” category rather than “indie rock.”

Performance: The set started late, which may have resulted in a quick, seven-song offering. What lacked in length, however,

GRANT STONER

Contact: hunter@LaFamos.com Web: facebook.com/GhostLitKingdom The Players: Ela Kitapci, lead vocals, keys; Taylor Morrow, lead vocals, guitar; Jason Rodriguez, drums, vocals; Michael Sevilla, guitar, vocals; Andrew Furze, bass, vocals.

GHOST LIT KINGDOM was made up for in energy, beginning with their single, the anthemic “You Don’t Know Me,” moving to the harmony-driven “I Was Born.” The songs provided a nice contrast, and although the five-part harmonies started out a little rough, they quickly got it together.

Lead vocalist Morrow was hoping to dispel the Arcade Fire comparisons by, oddly enough, covering Arcade Fire’s “Wake Up.” Mostly a straightforward cover, they did display their own personality and style with an unexpected vocal break mid-song. The performance closed on a strong note with a new song, “Oceans,” featuring three meter changes, the only instance of odd-time emphasized in the

set, along with bassist Furze finally being let loose for added funk.

Summary: Ghost Lit Kingdom seems to be doing this for all the right reasons, and enjoying moments along the way. They’re genuinely appreciative to be on stage, sharing stories and revealing emotions that drive their music. They’ve built a solid foundation that will only benefit by continuing to play together, refining their voice and experimenting beyond their comfort zone. The challenge they face now will be how to stand out, but they’ve got the songwriting chops to do it.

– Grant Stoner August 2015

musicconnection.com

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Empire Control Room & Garage Austin, TX

Material: The Rhode Island-native husbandand-wife hip-hop act do so much more than create urban-inspired tunes that it seems an injustice to categorize them in one genre. Their music is complex and layered in exhilarating production as it builds upon messages of love and healing. Brought to life with energetic and confident performances, tracks such as award-winning “Holy Water” and electro rock-influenced “Satellite” focus on the vocalists’ delivery while being supported by lively instrumentals. Neither would work as effectively on their own, but do come together harmoniously to create a memorable experience, even for those who may not be avid R&B and hip-hop fans.

Musicianship: Passion flows from both lead vocalists. Qi Dada can deliver powerhouse vocals to drive a live performance while Chaka provides slick and meaningful verses, and while the husband and wife showcase evident chemistry, there is a great amount of support from the backing instrumentals. Just as alert as the vocalists is Johnson on the drums who got the crowd moving and grooving. Arevena also brings a welcoming and intriguing touch on the bongos. The players come together as one

Rockwood Music Hall

RIDERS AGAINST THE STORM entity on the tribal-sounding “Here We Come,” which put the overall concept of the act into proper prospective.

Performance: During the eight-song set, you could not help but catch Riders Against the Storm’s contagious love for music, rhythm and narrative storytelling. The crowd may have only been a dozen strong when the group took the stage, however, it continued to grow to full audience size as the set went on. You were able to forget about everything else except the meaning behind the music. At times it was difficult to fully understand what was being said—blame the small stage setting and overly loud speakers—but overall the hip-hip group put on an entertaining and captivating show,

LUIS GONZALEZ

Contact: conjuredivine@gmail.com Web: rashiphop.com The Players: Jonathan “Chaka” Mahone, vocals; Ghislaine “Qi Dada” Jean, vocals; Elliot Morgan, bass; Darin Layne, guitar; Jonathan Deas, keys; Dave Johnson, drums; Dario Aravena, percussion.

capped off by a slick and radio-friendly “In The Lights,” a strong and effective closing.

Summary: Riders Against the Storm are an Austin staple, winning Band of the Year for two consecutive years, and they showcased their achievement with a solid, fleshed-out set that highlighted their precise mix of urban, hip-hip, rock and electronic influences.

The venue may not have been ideal to first experience the inspiring group, but they were still able to dominate the stage with a true love for musicality and a smile on their faces.

The passionate and solid vocal performances from the founding members were enough to warrant a devoted following and possible future radio success. – Luis Gonzalez

New York, NY

Material: Assigning a genre to Tangina Stone’s music might be somewhat limiting, as she exists in the cracks between several.

Under the umbrella of R&B/pop, the various colors in her voice suggest jazz as well as blues. The songs alternate between straightahead ballads and ‘90s-inspired R&B. In “Cops” (a sort of rant with a marcato rhythm and a domestic violence storyline) there is plenty of attitude, but it falls short in conveying the seriousness of its subject matter. Learning only that the victim is drowning in this tumultuous relationship while pitted against an unstable partner, you can’t help but long for more detail about what culminated in her partner’s arrest. The line, “I called the cops,” repeats numerous times and should really be the title of the song.

In “Suntan,” a lovely sensual ballad with plenty of imagery, you are drawn into its lilting mood and beckoning visuals: “Your love is so bright you’re giving me a suntan. I just want to soak up the sun and you might just be the right one.” In this instance, Stone demonstrates her gift for melody and endearing emotion.

Musicianship: This singer’s appealing and supportive backing trio provided a foundation 52 August 2015

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TANGINA STONE that complemented the nuances in her voice, which is somewhat stylized but reads very naturally. There is no over-singing and no gratuitous vocal embellishing. Keyboardist Thomas Senatore alternated on keys and guitar, which allowed for more sonic complexity when needed. Walker, normally the band’s official bass player, pitched in on guitar as well and put the finishing touches on the ensemble’s fully acoustic sound.

Performance: Stone seemed relatively at ease and displayed an obvious connection with her band mates. They were well rehearsed, which freed up room for between-song banter as well as some humor. She was chatty with the

MARK SHILOWIH

Contact: awright@theimgway.com Web: tanginastone.com Players: Tangina Stone, lead vocals; Thomas Senatore, guitar, keys; Blake Walker, guitar; Nick Senatore, djembe drums.

audience; however, at times she introduced a song with a brief synopsis of its storyline, which tended to lessen its emotional impact.

A backstory as to what inspired the song (or some related anecdote) would allow the artist to save her emoting for the performance itself.

Summary: Possessing an innate musicality, Tangina Stone has a sound and style that is easy on the ears. To her credit she doesn’t push vocally or rely on pyrotechnics to get a song across. Improvements are need, however—namely, refraining from giving away a song’s story before performing it—and she is urged to bring her songcraft up to the level of her fine vocal talents.

– Ellen Woloshin

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Additional locations: 3727 Robertson Blvd.

Culver City, CA 310-836-8998 16200 Hawthorne Blvd.

Lawndale, CA 310-214-0330 PERFECT TIMING ENTERTAINMENT 4113 N. Longview Ave. Phoenix, AZ 85014 623-206-5097 Web: www.perfecttimingentertainment.com Basic Rate: please call for info SER SOUNDWORKS 190 E. Corporate Pl., Ste. 3 Chandler, AZ 480-649-8074 E-mail: rockstar@sersoundworks.com Web: www.sersoundworks.com Basic Rate: please call for info

CALIFORNIA (NORTHERN) ANNEX REHEARSAL STUDIOS 2554 Grant Ave. San Lorenzo, CA 94580 510-908-5126 E-mail: info@annexrehearsalstudios.com Web: www.annexrehearsalstudios.com Basic Rate: please call for info Additional location: 2254 American Ave. Hayward, CA 94546 510-908-5126 JACK LONDON REHEARSAL STUDIOS 632 2nd St. Oakland, CA 94607 510-569-7075 Web: www.jacklondonrehearsal.com LENNON REHEARSAL STUDIOS & MUSIC SERVICES 468 9th St. San Francisco, CA 94103 415-575-3636 E-mail: info@lennonstudios.com Web: www.lennonstudios.com Contact: studio manager Basic Rate: please call for rates Special Services: Rooms for rent by the hour and by the month, centrally located MUSIC SPECTRUM 43 Bay St. San Rafael, CA 94901 415-459-2259 E-mail: john@musicspectrum.net Web: www.musicspectrum.net Basic Rate: $17/hour RDM2 STUDIOS 6651 Brisa St. Livermore, CA 94550 925-443-7362 E-mail: info@rdm2studios.com Web: www.rdm2studios.com REHEARSE AMERICA 8923 San Leandro St. Oakland, CA 94621 916-923-2525

E-mail: oak@rehearse.com Web: www.rehearse.com

ATWATER DELUXE REHEARSAL 2471 Fletcher Dr. Los Angeles, CA 90039 323-665-5800 E-mail: rehearse@atwaterdeluxe.com Web: www.atwaterdeluxe.com Basic Rate: starting at $17/hr

Additional locations: 2751 Academy Way Sacramento, CA 95628 916-923-2525 E-mail: hoh@rehearse.com

BOMB SHELTER REHEARSAL STUDIOS 7580 Garden Grove Blvd.

Westminster, CA 92683 714-240-7345 E-mail: britt@bombshelterrehearsal.com Web: www.bombshelterrehearsal.com Contact: Britt Trace Basic Rate: call or see website Rooms: 6, including a large Showcase Room with stage, sound and lights. All rooms have a P.A. system. Rooms are set up to your preference, let us know what you need.

Equipment: Mackie, QSC, Sonor, Audix, Ampeg, Marshall, B-52, Yorkville, Traynor, Pro Tools, Trident, Universal Audio, Rode, etc.

Services: Rehearsal rooms, recording and audio production, voiceover, editing, overdubs, jingles, radio, sequencing and midi, location recording, record your rehearsal, guitar repair and maintenance, CD duplication and graphic design, CD mastering, free wifi, music lessons

5749 88th St. Sacramento, CA 95628 916-381-4500 E-mail: srs@rehearse.com SHARK BITE STUDIOS 634 2nd St. Oakland, CA 94607 510-663-8346 E-mail: mail@sharkbitestudios.com Web: www.sharkbitestudios.com Basic Rate: please call for info

CALIFORNIA (SOUTHERN) 7EVEN STUDIOS 1793 E. 28th St.ߐ Signal Hill, CA 90755 ߐ562-988-7771 E-mail: info@7evenstudios.comߐ Web: www.7evenstudios.com ߐBasic Rate: please call for info ABC REHEARSAL STUDIOS 2575 San Fernando Rd. Los Angeles, CA 90065 323-874-2408 E-mail: pmcinla@gmail.com Web: www.abcrehearsals.com Contact: Argel Cota, onsite manager Basic Rate: please call for information and specials Rooms: Over 50 studios, onsite parking, monthly rentals only. High-quality durable walls.

Services: onsite manager Clients: signed and unsigned bands Additional location: 7413-7415 Varna Ave. North Hollywood, CA 91605 323-874-2408 E-mail: pmcinla@gmail.com Web: www.abcrehearsals.com Contact: Chris Pendleton, on-site mgr.

ALLEY MUSIC STUDIOS 5066 Lankershim Blvd.

North Hollywood, CA 91601 818-980-9122 Web: www.Alleymusicstudios.com Basic Rate: $$25-50/hr, $250/500 all day ALMOST HOLDEN COLLECTIVE 2821 Ocean Park Blvd.

Santa Monica, CA 90405 424-238-8881 E-mail: almostholdencollective@gmail.com Web: www.almostholden.com Basic Rate: please call for info AMP REHEARSAL 5259 Lankershim Blvd.

North Hollywood, CA 91601 818-761-2670 E-mail: reservations@amprehearsal.com Web: www.amprehearsal.com Services: First all-inclusive rehearsal and recording studio Basic Rate: $15-30/hour ANNEX STUDIOS / THIRD ENCORE 7 Valley Locations, 1 Anaheim 818-753-0148, 310-924-4516 E-mail: thirdencorerentals@yahoo.com Web: www.3rdencore.com Contact: Wynnsan Moore / Colin Mulholland Services: Third Encore’s Annex Studios are 205 Premium 24-hr Monthly Lockout studios located in eight buildings in North Hollywood, Sherman Oaks, Van Nuys and Anaheim. All studios are fully air conditioned (with private a/c control) and include complimentary Wi-Fi. All buildings are one story for easy access and studios are constructed specifically for music production and rehearsal with multiple layers of drywall and soundboard. Band, Drum and Production rooms available!

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B Y

BEDROCKLA (Rehearse, Rent, Record, Relax) 1623 Allesandro St. Los Angeles, CA 90026 213-673-1473, 877-6BEDROCK Web: www.bedrockla.com Basic Rate: call for rates Services: Fully backlined/air conditioned hourly rehearsal studios, monthly lock out rehearsal studios, retail store, backline/event rentals/cartage, full recording studios, 5.1 surround mix studio, guitar, bass, & drum repair, amp/electronics repair, event/film location BLACK DIAMOND STUDIOS 401 N. San Fernando Rd. Los Angeles, CA 90031 424-835-1087 E-mail: info@blackdstudios.com Web: www.blackdstudios.com Basic Rate: please call for info Services: Fully secured professional 12 large lockout studios.

CASCADE STUDIOS 6611 Santa Monica Blvd.

Hollywood, CA 90038 323-461-3800 Web: www.cascadestudios.com Basic Rate: please call for info Services: A professional rehearsal studio complex located in the heart of Hollywood.

Cascade Studios offers 12 premium hourly rehearsal studios with sizes ranging from 10’ x 15’ to 35’ x 45’. All hourly rehearsal studios are air-conditioned, fully-equipped with a complete backline. We have studios ranging in size and hourly rates to meet various needs of small local bands and touring musicians alike. Advance reservations are not required, however, it is highly recommended up to 2 days in advance for evening hours after 5 p.m. daily. Cascade Studios offers full range of backline equipment rentals from top manufacturers. A full (printable) equipment & price list will be available online very soon.

CENTERSTAGING 3407 Winona Ave. Burbank, CA 91504 818-559-4333 Fax 818-848-4016 E-mail: info@centerstaging.com, will@centerstaging.com Web: www.centerstaging.com Contact: Brent Basic Rate: call for rates CIDE SHOW REHEARSAL STUDIOS 18205 S. Broadway Gardena, CA 90248 310-324-4056 E-mail: info@cideshow.com Web: www.cideshowstudios.com Contact: Sherman Basic Rate: $12/hr Services: Lockout Bldg and Rehearsal

D E N I S E

CREATIVE MUSIC ROOMS 4935 McConnell Ave. Los Angeles, CA 90066 424-835-0501 E-mail: info@creativemusicrooms.com Web: www.creativemusicrooms.com/Index. aspx Basic Rate: call for rates Services: 24-hour access, 365 days/year.

D.O’B. SOUND 8531 Wellsford Pl., Ste. I Santa Fe Springs, CA 90670 562-464-9456 E-mail: dobsound20@yahoo.com Web: www.dobsound.net, www.facebook.com/ DOB.SoundStudios Contact: Larry Ramirez, Derek O’Brien Basic Rate: call for rates Services: Full recording, mixing and mastering studio, video production, 5 fully equipped rehearsal rooms and guitar repair shop.

DOWNTOWN REHEARSAL 1000 S. Santa Fe Ave. Los Angeles, CA 90021 213-627-8863 Fax 213-614-8633 Contact: Mike Basic Rate: please call for info Rooms: Sizes ranging from 12’x19’ to 22’x24’.

12’ ceiling. All studios have ceiling fans, carpeting and phone jacks. Studios are secure, private and clean.

Clients: Numerous label and unsigned bands.

Services: We have 62 studios at Santa Fe location and 212 at 7th Street location.

Additional location: 2155 E. 7th St. Los Angeles, CA 90021 323-263-2561 Contact: Chris ELECTRIC JUNGLE PRODUCTIONS Fullerton, CA 714-738-6271 Basic Rate: $195 to $1000 30-day lockout Rooms: Call for more information ELEVATED AUDIO 14677 & 14651 & 14661 Aetna St. Van Nuys, 91411 818-909-9029 E-mail: elevatedaudio@gmail.com Web: www.elevatedaudio.com Contact: Fran Basic Rate: $19/22 per hr.

EXPOSITION REHEARSAL & RECORDING STUDIOS 9214 Exposition Blvd.

Los Angeles, CA 90034 310-287-1236 E-mail: contact@expositionstudios.com Web: www.expositionstudios.com Studio Specs: 6 rooms ranging from 14x16 to 28x15.

Rates: Ranging from $22/hr to $25/hr.

FK STUDIOS 2640 S. Myrtle Ave. Complex A-11 Monrovia, CA 91016 626-600-2045 E-mail: contact@fkstudios.com Web: www.fkstudios.com Rates: call for rates FRANCISCO STUDIOS 4440 District Blvd.

Vernon, CA 90058 323-589-7028 E-mail: francisco.studios@yahoo.com Web: www.franciscostudios.com Contact: Ray Basic Rate: call for monthly or hourly rates Rooms: Over 100 Monthly Lockouts, private parking, Free Wi-Fi, Freight elevator, 24-hour Video Surveillance, 5 miles from downtown L.A., A/C Services: monthly lockout hourly, recording, guitar and drum lessons; free wifi.

Additional locations: Phoenix, AZ (4 locations) 602-229-1250 Contact: Zach

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Directory of Rehearsal Studios Services: small, medium and large specially designed for live sound

125 E Pennington St. Tucson, AZ 85701 520-300-1116 Contact: Frank 6100 E. 39th Ave. Denver, CO 80207 303-320-8440 E-mail: franciscostudiosdenver@gmail.com Contact: Kreston GEMINI STUDIOS Irvine, CA 714-545-2289 Fax 714-545-2276 Web: www.geministudios.com Basic Rate: $625 for 200 sq. ft.; $555 for 150 sq. ft.; $475 for 100 sq. ft.

Services: Gemini Studios has been serving Orange County musicians, performers and bands since 2001. We offer clean and affordable 24-lockout rehearsal studios located in central OC. We have two locations all close together and we are dedicated to providing the best private monthly music studios available.

Check out our website, which allows you to reserve your studio online or get on the waiting list. Whether you’re a solo musician looking for a spot to jam or a band needing a practice/rehearsal studio of your own or to share, Gemini has the studio solution to fit your needs. Practice Well.

Clients: Sameer Gadhia//Young the Giant, Dustin, Teppei, Eddie, Riley//Thrice, Chris// Saosin, Brandon Saller//Atreyu, Steve//The Color Turning, Greg Martz//Alpha Hotel, Seven Year Itch GLENDALE STUDIOS 1239 S. Glendale Ave. Glendale, CA 90248 818-550-6000 E-mail: info@glendalestudios.com Web: www.glendalestudios.com GROOVE WORKS STUDIOS 1446 W. 178th St. Gardena, CA 90248 310-403-5104 E-mail: info@grooveworksstudios.com Web: www.grooveworksstudios.com Basic Rate: $35. hr.

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GUITAR CENTER STUDIOS 6400 Owensmouth Ave. Woodland Hills, CA 91367 818-883-4427 E-mail: info@gcstudios.com Web: www.woodlandhills.gcstudios.com THE HIT JOINT 2380 Glendale Blvd.

Los Angeles, CA 90039 323-666-7625 E-mail: chris@thehitjoint.com Web: www.thehitjoint.com Basic Rate: call for rates HOLLOWAY PRODUCTIONS 9541 Santa Fe Springs Rd. ߐSanta Fe Springs, CA 90670ߐ 562-941-5949 ߐE-mail: hollowayproductions@gmail.comߐ Web: Facebook Contact: Edward Holloway Basic Rate: $16/ $20 an hour Services: Seven rehearsal studios: Drums, 2 half-stack guitar amps, Bass amps, PA system and 4 mics in every room.

Clients: Walt Disney, Poncho Sanchez, Jose Rizo Jazz on the Latin Side Allstars HOTHOUSE REHEARSAL STUDIOS 11823 Slauson Ave., Unit 41 Santa Fe Springs, CA 90670 562-945-1300 E-mail: richard@hothousestudios.com Web: www.hothousestudios.com Contact: Richard Morales Basic Rate: $12-$20/hr.

Room Specs: Studio A 20’ x 28’ Studio B 16’ x 16’ Studio C 16’ x 16’ Studio M 17’ x 21’ Auditorium 20’ x 31’. All acoustically designed.

Special Services: Video prod. and recording capabilities, live video streaming, website promotions, ground level parking in front and back, cater to special events.

Equipment: Each Studio: 2 Marshall half stacks, Ampeg bass rig, Pacific DW maple drum kit with cymbals, concert grade PA system with microphones and stands, power amps, mixing boards, keyboard amps.

IMPERIAL SQUARE MUSIC STUDIOS 12631 E. Imperial Hwy., Ste. C125 Santa Fe Springs, CA 90670 562-868-8928 Web: www.imperialsquaremusicstudios.com INTERNATIONAL CITY STUDIOS 3260 Industry Dr. Signal Hill, CA 90755 562-494-6100 E-mail: booking@internationalcitystudios.com Web: www.internationalcitystudios.com Basic Rate: call for rates JACO STUDIOS 7825 Industry Dr. Pico Rivera, CA 90660 562-328-3615 E-mail: jcinhollywood@hotmail.com Web: facebook Basic Rate: call for rates JC SOUND STAGES 6670 Lexington Ave. Hollywood, CA 90038 323-467-7870 E-mail: jcinhollywood@hotmail.com Web: www.jcsoundstages.com Contact: JC Basic Rate: $200/300/480/day. *See website for local unsigned band rates LA REHEARSAL MUSIC STUDIOS 5327 Santa Monica Blvd.

Los Angeles, CA 90026 323-871-1676 E-mail: larehearsal@gmail.com Web: www.larehearsal.net Contact: Brent Becker Basic Rate: $20/40/hr LOCKOUT MUSIC STUDIOS 1300 S. Beacon St., Ste. 101 San Pedro, CA 90731 714-997-1380 E-mail: studios@koos.org Web: www.lockoutmusicstudios.com Basic Rate: $50 - $75 per day

Additional locations: 320 French St. Santa Ana, CA 3601 9th St. Riverside, CA MATES REHEARSAL & CARTAGE 5412 Cleon Ave. North Hollywood, CA 91601 818-762-2661 E-mail: robertbrunner@matesinc.com Web: Matesinc.com Contact: Bob Brunner Basic Rate: please call for info Rooms: Studio A & B 28x25 (stages 28x16) soundstage 50x60 (stage 50x24) monitor specs. Available upon request. Private bathrooms, lounge, easy load-in, plenty of parking. Also new soundstage, 41x23 private lounge, production office, bathroom. Very private, isolated location.

Services: cartage, worldwide freight, rentals Equipment: List available upon request.

MDM MUSIC REHEARSAL STUDIOS 4524 Brazil St., Ste. B Los Angeles, CA 818-241-5015 Fax 818-241-5017 E-mail: info@mdmmusicstudios.com Web: www.mdmmusicstudios.com Contact: Arbin or Robert Basic Rate: call for rates Services: Upscale rehearsal studios with a full backline. Great acoustics, no feedback MUSICIANS CHOICE REHEARSAL STUDIOS - HOURLY 3727 Robertson Blvd.

Culver City, CA 90232 310-836-8998 Web: www.musicianschoicestudios.com Basic Rate: Please call for more information MUSICIANS CHOICE REHEARSAL STUDIOS - HOURLY 16200 Hawthorne Blvd., Ste. A Lawndale, CA 90260 310-214-0330 E-mail: shovelhead66@hotmail.com Web: www.musicianschoicestudios.com

Download at musicconnection.com/industry-contacts MUSICIANS CHOICE LOCKOUT STUDIOS - MONTHLY Lemona Ave. Van Nuys, CA 310-836-8998 Fax 310-836-8932 E-mail: shovelhead66@hotmail.com Web: www.musicianschoicestudios.com Basic Rate: Please call or email for more info.

Additional locations: West L.A., Hollywood, LAX/Westchester MUSICIANS PERFORMANCE STUDIOS, INC. 9650 9th St., Ste. C Rancho Cucamonga, CA 91730 909-944-0100 Fax 909-944-0116 E-mail: info@musiciansps.com Web: www.musiciansps.com Contact: Keith Jones Basic Rate: $8-22/hr two hr/min.

Services: Full Line Store, Equipment Storage/ Rentals, Recording, Video Recording, Guitar, Bass and Drum Repair and Custom Building, We Offer Repairs on all Electronics NIGHTINGALE LOCKOUT STUDIOS NORTH HOLLYWOOD 10623 Magnolia Blvd.

North Hollywood, CA 91601 818-562-6660 E-mail: nightingalesound@sbcglobal.net Web: www.nightingalestudios.com Contact: Mike Basic Rate: Monthly Rates only Rooms: 8 studio lockouts, clean, acoustically designed, about 400-500 sq. ft., central A/C. You will get your money’s worth. Only Monthly lockouts Services: we can supply drums, guitar and bass rigs, storage, and only the best P.A.s.

Just tell us what you need!

Clients: too many to list NIGHTINGALE STUDIOS - BURBANK 156 W. Providencia Ave. Burbank, CA 91502 818-562-6660 Fax 818-562-1932 E-mail: nightingalesound@sbcglobal.net Web: www.nightingalestudios.com Contact: Mike or Jay

Basic Rate: $18/$45/hr.

Rooms: 33 studio rooms. Video screening studio with 12’ x 7’ HD projector and screen.

Most studios linked into central recording control room allowing convenient rehearsal and recording capabilities from your studio.

Acoustically designed fully equipped studios from 100 sq. ft. up to 800 sq. ft.

We have monthly lockouts, drum rooms, affordable showcase stage, weekly, and daily arrangements. We provide top security, and a clean “vibey” atmosphere. You will get your money’s worth! Hourly and Monthly Lockouts.

Services: Full Pro Tools rig with very qualified engineer for live and session recordings, Community Showcases, we rent guitar and bass rigs, P.A. systems, and storage. Just tell us what you need!

Equipment: PA systems have all been recently updated with new state of the art QSC, Spectr Audio, Yamaha, and Electrovoice equipment. What sounded great before, is now off the charts Clients: too many to list PASADENA REHEARSAL STUDIOS 2016 N. Lincoln Ave. Pasadena, CA 91103 626-296-0310 E-mail: alan@pasadenarehearsal.com Web: www.pasadenarehearsal.com Contact: Alan Dyer Basic Rate: $18-24 PM STUDIOS 3311 Winona Ave. Burbank, CA 91504 310-213-8584 Contact: Patrick Web: www.pmrehearsalstudios.com Basic Rate: please call for info Additional location: Martin Rehearsal Studio 6115 Lankershim Blvd.

North Hollywood, CA 91605 818-763-9263 PRODUCTION COMPANY MASTERING, RECORDING & REHEARSAL STUDIO 2647 Pacific Park Dr.

Whittier, CA 90601 562-695-4500 E-mail: info@purerockstudio.com Web: www.purerockstudio.com Basic Rate: please call for rates PURE ROCK STUDIOS 673 Valley Dr. Hermosa Beach, CA 90254 310-379-6477 E-mail: rockzionrecords@hotmail.com Web: www.rockzion.com/productionco.html Basic Rate: please call for rates R2 STUDIOS 13143 Saticoy St. North Hollywood, CA 91605 818-255-5502 E-mail: r2studios@sbcglobal.net Web: www.r2studios.net Contact: R2 Studios Basic Rate: monthly lockouts ROYAL REHEARSAL 2609 S. Hill St. Los Angeles, CA 90007 213-342-1176 E-mail: royalrehearsal@gmail.com Web: www.royalrehearsal.com Basic Rate: please call for rates Additional location: 2510 S. Grand Ave. Los Angeles, CA 90007 RP STUDIOS, INC. 5716 Cahuenga Blvd.

North Hollywood, CA 91606 818-859-0090 Web: www.facebook.com/RPSTUDIOSINC Basic Rate: Please call, monthly lockout SOUNDBITE STUDIOS 1975 Riverside Dr. Los Angeles, CA 90039 323-666-1609 E-mail: service@soundbitela.com Web: www.soundbitela.com Basic Rate: call for rates

SOUNDCHECK STUDIOS 11736 Vose St. North Hollywood, CA 91605 323-627-5766 E-mail: info@soundcheckstudios.net Web: www.soundcheckstudios.net Contact: David Lee Basic Rate: call for rates SOUND MATRIX STUDIOS 18060 Newhope St. Fountain Valley, CA 92708 714-437-9585 Fax 714-437-9877 E-mail: info@soundmatrix.com Web: www.soundmatrix.com Contact: Chris Whiting Basic Rate: see website for rates SOUND STREET STUDIOS 7025 Canby Ave. Reseda, CA 91335 818-609-9972 E-mail: info@soundstreetstudios.com Web: www.soundstreetstudios.com Basic Rate: $15 - $29/hr.

STAGE ONE 23092 Terra Dr. Laguna Hills, CA 92653 949-367-9693 E-mail: questions@stageonestudios.com Web: www.stageonestudios.com Contact: studio mgr.

Basic Rate: please call for rates STUDIO INSTRUMENT RENTALS (S.I.R.) 6465 Sunset Blvd.

Hollywood, CA 90028 323-957-5460 Fax 323-461-7120 E-mail: lainfo@sir-usa.com Web: www.sirla.com Contact: Fred Rose or Joey Yarmoluk Rooms: All rooms come complete with 8 mixes of EAW monitor systems and stereo sidefills, Soundcraft SM-12 consoles, new consoles all Midas, Crest Amplification and Shure mics. Lighting available upon request.

Room sizes vary from 27’x36’ to an 80’x50’ show stage. All rooms come with stage and air conditioning.

Services: Showcases for major labels, event services, etc.

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Directory of Rehearsal Studios Equipment: Backline, audio, lighting / drum rentals.

Contact: Jimi Russell Basic Rate: $325-$700/month

SWING HOUSE REHEARSAL, RECORDING, RENTALS & CARTAGE Atwater Village, CA 323-850-4990 E-mail: info@swinghouse.com Web: www.swinghouse.com Basic Rate: see website

TRU-ONE RECORDS & REHEARSALS 2100 E. Howell Ave., Ste. 208 Anaheim, CA 92806 714-634-4678 E-mail: truonerecords@aol.com Web: www.truonerecords.com Contact: staff Basic Rate: $16-$20/hr. Fully equipped rehearsal rooms Friday/Saturday & Sunday book 2 hours get 3rd hour free (any room) Live Rehearsal Demo for only $25.

THAT BRITISH PLACE 1551 16th St., Unit B Santa Monica, CA 90404 310-880-7941 E-mail: thatbritishplace@gmail.com Web: www.thatbritishplace.com Contact: Gaz and Zoe Jones THIRD ENCORE 10917 Vanowen St. North Hollywood, CA 91605 818-753-0148 Fax 818-753-0151 E-mail: thirdencorerentals@yahoo.com Web: www.3rdencore.com Rooms: 6 air conditioned studios from 900-2,400sq. ft., each including a private production office and full monitoring P.A. Fullservice, professional facility. Quiet, safe, clean and very private. Great parking. Daily, weekly or monthly lockout rates available.

Services: Full instrument and backline rental, featuring large selection of all major brands including Mesa Boogie, Yamaha, DW, Roland, Tama, Orange, Vox, Sabian, Zildjian, Ampeg, Korg and Marshall gear. Private storage lockers, cartage services.

Equipment: All rooms come with Adamson / Lab Gruppen monitoring system. Digico, Avid, Yamaha, Midas consoles available.

THUD STUDIOS 5430 Vineland North Hollywood, CA 91601 818-378-8162 Web: www.thudstudios.com Contact: Jeff Abercrombie Services: 24 lockout facilities T.K. PRODUCTIONS - FULLERTON 1129 E. Elm Ave. Fullerton, CA 92831 714-680-3036 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Mike Basic Rate: $325-$700/month Additional locations: T.K. Productions - West L.A. 1939 Pontius Ave. Los Angeles, CA 90025 310-876-9666 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Rick “Boom” Steel Basic Rate: $325-$1500/month T.K. Productions - North Hollywood Sherman Way & Laurel Canyon 310-876-9666 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Rick “Boom” Steel Basic Rate: $290-$750/month T.K. Productions - Las Vegas 3311 Meade Ave. Las Vegas, NV 89102 702-303-4094 E-mail: tkprod1@aol.com Web: www.tkprod.net

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UNCLE REHEARSAL STUDIOS 6028 Kester Ave. Van Nuys, CA 91411 818-989-5614 E-mail: uncleesca@sbcglobal.net Web: www.unclestudios.com Contact: Scott Walton Basic Rate: please call for info URBAN AUDIO STUDIOS 3210 Central Ave., Ste. 5 Duarte, CA 626-301-0221 E-mail: urbanaudio@earthlink.net Basic Rate: $30/hr. 3 hr.min WEST L.A. STUDIO SERVICES 2033 Pontius Ave. Los Angeles, CA 90025 310-478-7917 Fax 310-479-5961 E-mail: westlastudios@me.com Web: www.westlastudios.com Contact: Any W. L.A. staff Basic Rate: P.A. only: $19-$23/hr.

Fully Equipped: $13.00-$26.00hr.

Rooms: 7 rooms, AC, newly refurbished from $10-21/hr. including P.A. and mics. Add full backline for $5.00/ hr. more in any room Services: Rehearsal, rentals, sales, repair, advice, laundry, BBQ’s, and the best coffee anywhere.

Equipment: Mackie, JBL, Crowne, EV, Bagend, Fender, Behringer, Yamaha, GK, Mesa Boogie, etc.

Clients: We respect the privacy of all of our clients. For over 19 years of serving our clients, many of who are now our friends. We have a friendly and helpful staff whose number one goal is to create an environment that nurtures your musical creativity.

COLORADO COLORADO REHEARSAL STUDIOS 2200 Larimer St.ߐ Denver, CO 80205 ߐ720-956-0148 ߐWeb: www.coloradorehearsalstudios.com Basic Rate: $150-420/month ߐServices: 24 hour availability; monthly rentals DOG HOUSE MUSIC 525 Courtney Way Lafayette, CO 80026 303-664-1600ߐ E-mail: contact@doghousemusic.com Web: www.doghousemusic.comߐ Basic Rate: From $45/hour for equipped studios; $400-450/month for empty studio lease EREBUS MUSIC Southwest Denver, CO Web: www.erebusmusic.com SOUNDSTRUCTURE STUDIOS 3131 Walnut St. Denver, CO 80205

303-291-0602 E-mail: jam@soundstructure.com Web: www.soundstructure.com Contact: Sam Basic Rate: please call for further information

CONNECTICUT CARRIAGE HOUSE STUDIOSߐ 119 West Hill Rd.ߐ Stamford, CT 06902 ߐ203-358-0065 E-mail: johnny@carriagehousemusic.com Web: www.carriagehousemusic.comߐ Basic Rate: please call for info RVP STUDIOS 221 Bull Hill Ln. West Haven, CT 203-934-7579 E-mail: gabrielle.rvpstudios@gmail.com Web: www.rvpstudios.com Contact: Gabrielle Raucci, Studio Mgr. THE STUDIOS AT 55 55 Colony St. Meriden, CT 06451 203-824-8187 E-mail: pete@vervecity.org Web: www.thestudiosat55.com Basic Rate: monthly rentals $280/550

FLORIDA 7TH CIRCUIT PRODUCTIONSߐ P.O. Box 370924 Miami, FL 33137 ߐ305-757-7277ߐ E-mail: info@7thcircuit.tvߐ Web: www.7thcircuit.tvߐ Basic Rate: please call for info BLACK STAR STUDIOS 12187 S.W. 132 Ct. Miami, FL 33186 305-235-5043 E-mail: sing@blackstarstudiomiami.com Web: www.blackstarstudiomiami.com Basic Rate: please call for info ATOMIC AUDIO 3212 N. 40th St., #302 Tampa, FL 33605 813-245-7195 E-mail: info@atomicaudiorecording.com Web: www.atomicaudiorecording.com Basic Rate: $12/hr., $275/mthly MARKEE MUSIC 1700 S. Powerline Rd. Deerfield Beach, FL 3442 954-794-0033 E-mail: mark@markeemusic.com Web: www.markeemusic Basic Rate: $46 1st 2 hrs/$21 per hr/$360 per day

STARKE LAKE STUDIOS 275 N. Lakeshore Dr. Ocoee, FL 407-565-9778 E-mail: info@starkelakestudios.com Web: starkelakestudios.com Basic Rate: please call for info STAY TUNED STUDIOS 5570 Florida Mining Blvd. S., Unit 105 Jacksonville, FL 32257 904-292-9997 Web: www.staytunedstudios.com Basic Rate: call for info STUDIO 26 3078 S.W. 38th Ct. Miami, FL 33134 305-505-7956, 786-899-2707 E-mail: PJ@Studio26miami.com Web: studio26miami.com Basic Rate: please call for info

GEORGIA ATLANTA ROCKSTAR REHEARSALSߐ (partnered with Avatar Studios)ߐ 255B Ottley Dr.ߐ Atlanta, GA 30324ߐ 770-296-5530 Web: www.atlrockstar.com, www.facebook.com/ATLRockstar ߐBasic Rate: please call for info THE BASS MINT 1376 Chattahoochee Ave. N.W. Atlanta, GA 30318 404-671-4253 E-mail: ronnie@thebassmint-atl.com Web: www.thebassmint-atl.com Contact: Ronnie Garrett Basic Rate: please call for info CROSSOVER ENTERTAINMENT GROUP 1310 Ellsworth Industrial Dr. Atlanta, GA 30318 404-352-3716 E-mail: xover@mindspring.com Web: www.crossover-entertainment.com Basic Rate: please call for info SOUND LAB MUSIC STUDIOS 2190 Brandon Trail Alpharetta, GA 30004 470-233-0449 E-mail: soundlabinfo@soundlabatlanta.com Web: www.soundlabatlanta.com Basic Rate: please call for info VISION STUDIOS 3875 Green Industrial Way Chamblee, GA 30341 404-435-6725 E-mail: mason.lutz@visionstudiosatlanta.com Web: www.visionstudiosatlanta.com Basic Rate: please call for info

SOUNDMAZE 229 E. Lemon St. Tarpon Springs, FL 34689 727-938-9997, 727-667-1124 E-mail: info@soundmazestudios.com Web: www.soundmazestudios.com Basic Rate: please call for info

JOLT RECORDS 1001 Dillingham Blvd., Ste. 224 Honolulu, HI 95617 808-845-0539 Web: www.joltrecords.com Basic Rate: please call for info

SOUTH FLORIDA REHEARSAL STUDIOS 1885 N.E. 149th St., #100 North Miami, FL 333181 305-949-5303, 786-238-1890 E-mail: sfrsmusic@gmail.com Web: www.sfrs.net Contact: Glenn Wexo

PINEAPPLE SHACK STUDIO 3-4684 Kuhio Hwy. Lihue, HI 96766 808-639-6195 E-mail: cowboybobbyd@gmail.com Web: www.okauai.com/pass Basic Rate: $50 per 4 hrs.

HAWAII

Download at musicconnection.com/industry-contacts VIBE ASYLUM 1008 Kawaiahao St. Honolulu, HI 96817 808-591-2334 E-mail: benny@vibeasylum.com Web: www.vibeasylum.com Basic Rate: please call for info

ILLINOIS FAB SOUND REHEARSAL 2113 W. Walton St. Chicago, IL 60622 312-714-0401 E-mail: fabienvander@aol.com Web: www.fabsound.info Basic Rate: please call for info MUSIC GARAGE 345 N. Loomis St. Chicago, IL 60607 312-997-1972, Fax 312-267-0712 E-mail: themusicgarage@gmail.com Web: www.musicgarage.com Basic Rate: please call for info REDLIGHT STUDIOS The Karlov 367 N. Karlov Ave. Chicago, IL 60624-1804 708-485-0010 E-mail: rentalmanager@rehearsehere.com Web: www.rehearsehere.com Basic Rate: please call for info

TIPITINA’S FOUNTAINBLEAU REHEARSAL 4040 Tulane Ave., #8000 New Orleans, LA 70119 504-309-7934 E-mail: foundation@tipitinas.com Web: www.tipitinasfoundation.org Basic Rate: call for availability Services: Rehearsal, Equipment Storage, Music Office Co-Op. TIPITINA’S MUSIC STORAGE & REHEARSAL/SHREVEPORT 700 Texas St. Shreveport, LA 71101 318-934-0000 E-mail: chris@tipitinas.com Web: www.tipitinasfoundation.org Contact: Mr. Christopher Basic Rate: call for availability Services: Rehearsal, Equipment Storage, Music Office Co-Op Additional locations: 2600 Government St. Baton Rouge, LA 225-389-0133 203 Jefferson St. Lafayette, LA 337-534-0951

Additional location:

321 Desoto St. Alexandria, LA 318-443-9306

Ukrainian Village 1648 W. Kinzie St. Chicago, IL 60622-6396

502 N. 2nd St. Monroe, LA 318-410-8081

SUPERIOR ST. 2744 W. Superior St. Chicago, IL 60612 773-227-5550 E-mail: info@superiorst.com Web: www.superiorst.com Basic Rate: please call for info

INDIANA MUSIC GARAGE ߐ6828 Hawthorn Park Dr. Indianapolis, IN 46220 ߐ317-576-9643 ߐE-mail: info@mymusicgarage.com ߐWeb: www.mymusicgarage.com

LOUISIANA THE MUSIC SHED 929 Euterpe St.ߐ New Orleans, LAߐ 504-812-812-1928 E-mail: rubyrendrag@gmail.com Web: www.musicshedstudios.com Contact: Ruby Rendrag, Manager Basic Rate: hourly rates SOCKIT STUDIO 10379 Mammoth Ave. Baton Rouge, LA 70814 225-216-0167 E-mail: dkirkpatrick@sockitstudio.com Web: www.sockitstudio.com Basic Rate: call for rates STUDIO 101 1001 S. Broad New Orleans, LA 70125 504-237-5404 Web: www.studio101nola.com Basic Rate: hourly rates

MAINE GRIME STUDIOS 299 Presumpscott St. Portland, ME 207-831-3621 Web: www.facebook.com/ grimestudiosportland MY THRILL STUDIO 46 Blueberry Hill Rd. Winterport, ME 04496 207-223-5082 E-mail: mythrill@mythrillstudio.com Web: www.mythrillstudio.com

ORION SOUND STUDIOS 2903 Whittington Ave., Ste. C Baltimore, MD 21230 410-646-7334, 410-206-1801 E-mail: info@orionsound.com Web: www.orionsound.com

MASSACHUSETTS BRISTOL STUDIOS 169 Massachusetts Ave. Boston, MA 02115 617-247-8689 E-mail: info@bristolstudios.com Web: www.bristolstudios.com Contact: Jason Basic Rate: call for info CHARLESTOWN REHEARSAL STUDIOS 50 Terminal St., Bldg. 1 Charlestown, MA 02129 617-241-0016 E-mail: info@charlestownmusicstudios.com Web: www.charlestownmusicstudios.com Basic Rate: please call for info

MICHIGAN DETROIT SCH. OF ROCK & POP MUSIC 1109 S. Washington St. Royal Oak, MI 48067 888-988-ROCK (7625) E-mail: info@detroitschoolofrockandpop.com Web: www.detroitschoolofrockandpop.com Basic Rate: please call for info HIVE COLONY 22727 Nagel Warren, MI 48089 586-531-1458 E-mail: info@thehivecolony.com Web: www.thehivecolony.com Basic Rate: please call for info MUSIC FACTORY 24536 Gibson Warren, MI 48089 586-619-5100, 586-246-3742 Web: www.detroitrehearsalspace.com Basic Rate: Room rates start at $125 per mo

MINNESOTA

JAMSPOT INC. 111 S. St. Somerville, MA 02143 617-666-PLAY (7529) E-mail: somerville@jamSpot.com Web: www.jamspot.com Basic Rate: please call for rates

BEATSUITES 1015 Currie Ave., N Minneapolis, MN 55412 612-339-BEAT (2328) E-mail: info@beatsuites.com Web: www.beatsuites.com Basic Rate: please call for info

Additional location:

HUMANS WIN 1423 29th Ave. N.E., Minneapolis, MN 55418 612-968-9484 Contact: Lance Conrad E-mail: booking@humanswin.com Web: www.humanswin.com Basic Rate: please call for info

14 Teal Rd. Wakefield, MA 01880 339-219-027 E-mail: wakefield@jamspot.com MUSIC STUDIOS OF ARLINGTON CENTER 399 Massachusetts Ave. Arlington, MA 02474 781-646-0243 E-mail: info@arlingtonstudios.com Web: arlingtonstudios.com Basic Rate: please call for info

TAYLOR SOUND 8000 Powell Rd., Ste. 100 Saint Louis Park, MN 55343 612-208-2864 E-mail: info@taylor-sound.com Web: www.taylor-sound.com

MARYLAND BAND REHEARSAL 239 N. Franklintown Rd. Baltimore, MD 21223 443-831-2263 E-mail: bandsrme@yahoo.com Web: www.bandrehearsal.net Services: Full recording services available Additional locations: 4501 E. Fayette St. Baltimore, MD 21224 1310 Franklin Ave. Essex, MD 21221 INNER SOUND REHEARSAL 4132 E. Joppa Rd. Suite 100 Nottingham, MD 21236 410-256-2699 E-mail: tmattucci@innersoundstudio.com Web: www.innersoundstudio.com Basic Rate: $40/hr 3 hr min

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Directory of Rehearsal Studios NEW YORK

MISSOURI STUDIO CITY KC 615 E. 6th St., Ste. 123 Kansas City, MO 64106 816-474-5920 E-mail: restes@studiocitykc.com Web: www.studiocitykc.com SKY RECORDING 9 W. 19th St. Kansas City, MO 64108 816-283-8795 Fax 816-471-1030 E-mail: katm@19below.tv Web: www.skykc.com

NEVADA DK PRODUCTIONS 4850 W. Oquendo Rd. Las Vegas, NV 89118 702-227-1777 Web: www.dkproductions.com Basic Rate: please call for info MDV ENTERTAINMENT 4131 W. Oquendo Rd., Ste. 2 Las Vegas, NV 89118 702-736-4635 E-mail: mdventertainment@gmail.com Web: www.mdventertainment.com Basic Rate: please call for info STEVE BEYER PRODUCTIONS 133 N. Gibson Rd. Henderson, NV 9014 702-568-9000 Fax 702-568-9090 E-mail: steve@sbeyer.com Web: www.sbeyer.com Basic Rate: please call for info T.K. PRODUCTIONS - LAS VEGAS Desert Inn & Valley View 702-303-4094 E-mail: tkprod1@aol.com Web: www.tkprod.net Contact: Tina Basic Rate: call for rates

NEW JERSEY FRANKENSOUND REHEARSAL 832 Ridgewood Ave. North Brunswick, NJ 08902 732-745-2778 E-mail: fsrehearsal@frankensound.com Web: www.frankensound.com Basic Rate: please call for info EIGHTSIXTEEN 9 Butler Blvd.

Bayville, NJ 08721 732-606-1590 E-mail: EightSixteenMusicStudio@gmail. com Web: www.eightsixteen.com Basic Rate: $22/hr REDBANK REHEARSAL 60 English Plaza Red Bank, NJ 07701 732-530-8794 E-mail: info@redbankrehearsal.com Web: www.redbankrehearsal.com Basic Rate: please call for info

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BAND SPACES NYC 342 Maujer St. Brooklyn, NY 646-657-8345 E-mail: spaces@bandspacesnyc.com Web: www.bandspacesnyc.com Basic Rate: please call for info Additional location: 188 N. 14th St. Williamsburg, NY 353 Ten Eyck St. (at Morgan) Brooklyn, NY 261 Douglas St. Brooklyn, NY CARROLL MUSICAL INSTRUMENT RENTALS, LLC 625 W. 55th St., Fl. 6 New York, NY 10019 212-868-4120 E-mail: irent@carrollmusic.com Web: www.carrollmusic.com Basic Rate: please call for info FUNKADELIC STUDIOS INC. 209 W. 40th St., Fl. 5 New York, NY 10018 212-696-2513 E-mail: FunkadelicStudios@gmail.com Web: www.funkadelicstudios.com Basic Rate: call or see website MICHIKO REHEARSAL STUDIOS Robertoâ&#x20AC;&#x2122;s Winds 149 W. 46th St., Fl. 3 New York, NY 10036 212 302-4011 E-mail: info@rmichikostudios.com Web: www.robertoswinds.com Basic Rate: please call for info MONTANA STUDIOS 823 11 Ave., Fl. 4 New York, NY 10019 212-757-9797 E-mail: montanastudios@aol.com Web: www.montanastudios.com MUSIC GARAGE, THE 177 S. 4th St. Brooklyn, NY 11211 718-218-9127 E-mail: themusicgarage@gmail.com Web: www.musicgarage.com Basic Rate: please call for info MUSIC MAKERS NY 251 W. 30th St., Ste. Fl. 3 New York, NY 212-967-6124 E-mail: musicmakersnewyork@gmail.com Web: www.musicmakersny.com Basic Rate: please call for info RIVINGTON MUSIC REHEARSAL STUDIOS 188 Stanton St. New York, NY 10002 212-353-0585 Web: www.rivingtonmusic.com Basic Rate: please call for info

PURPLE PIANO STUDIO 106 N. 3rd St. Brooklyn, NY 11211 718-487-9806 E-mail: booking@purplepianostudio.com Web: www.purplepianostudio.com Basic Rate: please call for info SMASH STUDIOS 307 W. 36th St., Fl. 18 New York, NY 10018 212-244-9066 E-mail: studiomanager@smashny.com Web: www.smashny.com Basic Rate: please call for info ULTRA SOUND REHEARSAL 251 W. 30th St., Fls. 4, 5 and 6 New York, NY 10001 212-714-1079 E-mail: booking@ultrasoundrehearsal.com Web: www.ultrasoundrehearsal.com Basic Rate: please call for info

NORTH CAROLINA BANDTASTIC STUDIOS Southend District Charlotte, NC 704-491-1213 Web: www.bandtasticstudios.com Basic Rate: please call for info DYNAMIC SOUND REHEARSAL STUDIOS 241 Horizon Dr. Raleigh, NC 27615 919-848-6666 E-mail: info@dynamicrehearsal.com Web: www.dynamicrehearsal.com Basic Rate: please call for info HAGGARD STUDIOS 8320 Litchford Rd., Ste. 200 Raleigh, NC 27615 919-819-5629 E-mail: music@haggardstudios.com Web: www.haggardstudios.com Contact: Jimmy Basic Rate: $15 hr

OHIO JMO MUSIC STUDIOS 2001 Courtright Rd. Columbus, OH 43232 614-443-5544 Ext. 206 E-mail: info@jmomusicstudios.com Web: www.jmomusicstudios.com Basic Rate: please call for info ROCK & ROLL CITY STUDIOS 5500 Walworth Ave. Cleveland, OH 44102 216-651-1020 E-mail: thestudio@rockcitystudios.com Web: www.rockcitystudios.com Contact: Studio mgr.

Basic Rate: please call for info

OKLAHOMA 79TH STREET SOUND STAGE 1001 N.W. 79th St. Oklahoma City, OK 73114

405-767-9799 E-mail: 79thstreetsound@gmail.com Web: www.okcsoundstage.com Basic Rate: monthly rates THE DOWNTOWN MUSIC BOX 535 N. Ann Arbor Oklahoma City, OK 73127 877-446-3330, 405-232-2099 E-mail: info@downtownmusicbox.com Web: www.downtownmusicbox.com Contact: Tony Curzio

OREGON SUBURBIA STUDIOS 632 S.E. Market St. Portland, OR 97214 503-736-9329 E-mail: injamike@suburbiastudios. comcastbiz.net Web: www.suburbiastudios.net Basic Rate: hourly and monthly TOADHOUSE REHEARSAL STUDIOS #1 1810 N. Columbia Portland, OR 97217 E-mail: adam@toadhouserehearsal.com Web: www.toadhouserehearsal.com Basic Rate: call for rate Additional location: Toadhouse Studio #2 1303 N. McClellan Portland, OR 97217 E-mail: Nick@toadhouserehearsal.com

PENNSYLVANIA COLUMBUS REHEARSAL STUDIOS 1020 N. Delaware Ave., Fl.3 Philadelphia, PA 19125 215-427-1020 E-mail: info@crs1020.com Web: www.crs1020.com/dirs.html Basic Rate: please call for info SURREAL SOUND STUDIOS 2046 Castor Ave., Fl. 2 Philadelphia, PA19134 215-288-8863 Web: www.surrealsoundstudios.com Contact: Joseph Lekkas Basic Rate: please call for info

TENNESSEE DIAMOND SOUND STUDIOS 240 Cumberland Bend Nashville, TN 615-244-BAND (2263) E-mail: josh@dsstudios.com Web: www.diamondsoundstudios.com Contact: Josh Diamond Basic Rate: please call for info S.I.R. NASHVILLE 1101 Cherry Ave. Nashville, TN 37203 615-255-4500 Fax 615-255-4511 E-mail: tninfo@sir-usa.com Web: www.sir-usa.com Basic Rate: please call for info

Download at musicconnection.com/industry-contacts SOUNDCHECK 750 Cowan St. Nashville, TN 37207 615-726-1165 Fax 615-256-6045 E-mail: info@sounndchecknashville.com Web: www.soundchecknashville.com Basic Rate: please call for info

PRO REHEARSAL & RECORDING 3150 Iron Ridge St. Dallas, TX 75247 214-634-3433 E-mail: rooms@prorehearsal.com Web: www.prorehearsal.com Basic Rate: please call for info

TOY BOX STUDIO, THE 2407 Brasher Ave. Nashville, TN 37206 615-697-9545 Web: www.thetoyboxstudio.com Basic Rate: please call for info

RHYTHM ROOM REHEARSAL STUDIOS 1410 Brittmoore Rd., Ste. A Houston, TX 77043 713-465-6122 E-mail: info@rhythmroomrehearsalstudio. com Web: www.rhythmroomrehearsalstudio.com Basic Rate: please call for info

TEXAS AUSTIN MUSIC ROOMS Austin, TX 512-450-8188 E-mail: kirk@austinmusicrooms.com Web: www.austinmusicrooms.com Basic Rate: Hourly and Monthly Rates

SOUNDCHECK 1901 E. 51st St. Austin, TX 78723 512-444-0023 E-mail: info@sounndcheckAustin.com Web: www.soundcheckAustin.com Basic Rate: please call for info

FRANCISCO’S STUDIOS 2300 Mckinney St. Houston, TX 832-207-3142 Web: www.facebook.com/ FranciscoPracticeStudios Basic Rate: please call for info

Additional location:

MUSIC LAB STUDIO 57 500 E. St. Elmo Rd. Austin, TX 78745 512-707-0560 Ext. 2 E-mail: Elmo@musiclab.net Web: www.musiclab.net Basic Rate: please call for info

3542A E. TC Jester Blvd.

Houston, TX 77018 719-290-0335 E-mail: monika@soundcheckaustin.com Web: www.SoundcheckHouston.com

UTAH

Additional location:

POSITIVELY 4TH STREET 375 W. 400 S. Salt Lake City, UT 801-359-6108, 801-859-5590 E-mail: positive4thst@gmail.com Web: www.practicespaceslc.com Basic Rate: call for rates

1306 W. Oltorf Austin, TX 78704 512-326-3816 ext.1 E-mail: oltorf@musiclab.net

EVOLUTION STUDIOS 1647 133rd PI. N.E.

WASHINGTON

Bellevue, WA 98005 425-641-3626 E-mail: eden@bandrehearsal.com Web: www.bandrehearsal.com Contact: Eden Basic Rate: please call for info JAMACADEMY 17802 134th Ave. N.E. #19 Woodinville, WA 98072 425-402-3700 E-mail: schedule@JamAcademy.com Web: www.spotlightstudiosnw.com Services: Hourly rehearsal rooms equipped with backline gear. We sell strings, picks, drumsticks, cold soda and snacks. Some off-site equipment for rent as well.

ROY’S PLACE REHEARSAL STUDIOS & RECITAL HALL 4926 196th St. S.W. Lynnwood, WA 98036 425-425-9790 E-mail: info@roysplacestudios.com Web: www.roysplacestudios.com Basic Rate: please call for info SEATTLE DRUM SCHOOL 12510 15th Ave. N.E. Seattle, WA 98125 206-364-8815 E-mail: info@seattledrumschool.com Web: www.seattledrumschool.com Basic Rate: $35 per half hour and $65 per one hour lesson Additional location: 1010 S. Bailey Seattle, WA 98108 206-763-9700

206-287-1615 E-mail: jodiopitz@yahoo.com Web: www.seattlerehearsal.com Contact: Jodi Basic Rate: please call for info STUDIO SEVEN 110 S. Horton St. Seattle, WA 98134 206-286-1312 E-mail: info@studioseven.us Web: www.studioseven.us Basic Rate: please call for info.

WISCONSIN MADISON MUSIC FOUNDRY 2818 Index Rd. Fitchburg, WI 53713 608-270-2660 E-mail: info@madisonmusicfoundry.com Web: www.madisonmusicfoundry.com Basic Rate: call for rates TBC STUDIOS 10201 W. Appleton Ave. Milwaukee, WI 53225 414-536-7337 E-mail: info@TBCStudios.com Web: www.tbcstudios.com For hundreds more contacts from current directories (A&R, guitar/bass instructors, everything indie, promotion, publicity, vocal coaches, college radio, recording studios, managers, booking agents, mastering studios, publishers, film/TV and more), visit our website: musicconnection.com/industrycontacts.

SEATTLE REHEARSAL 2424 1st Ave. S. Seattle, WA 98134

August 2015

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59

Gear Rentals: Audio/Video/Cartage/Tech

Directory of

Music-makers If you’re taplooking into thistodirectory rent some togear, connect be itwith audio, indie video, labels, lighting marketing and more, & promo this exclusive experts and MCindie list ispublicists. for you. And Plusif you loads need of contact to information have gear to aid repaired, you inorpromoting need stuffyour transported, music career, we’veDIY gotstyle: that T-shirt covered and here CDas development, well. This directory blog sites hasand been social updated media fortools.

2015.

ALABAMA

ADVANCED AUDIO & VIDEO 7500 Memorial Pkwy. S.W., Ste. 115U Huntsville, AL 35802 256-319-3030 E-mail: tucker@advancedaudio.tv Web: www.goaav.com HOLT AV 401 28th St. S. Birmingham, AL 35233 800-322-4658, 205-328-5231 E-mail: info@holtav.com Web: www.holtav.com

ALASKA

ACTION VIDEO PRODUCTIONS 430 W. 7th Ave., Ste. 100 Anchorage, AK 99501 907-277-8115 Fax 907-274-5287 E-mail: actvid@alaska.net Web: www.actvid.com TALKING CIRCLE MEDIA 2221 Sonstrom Dr. Anchorage, AK 99517 907-245-3209 Fax 907-245-3339 E-mail: info@talkingcirclemedia.com Web: www.talkingcirclemedia.com Contact: Jonathan Butzke

ARIZONA

AGGRESSIVE MEDIA 3370 N. Hayden Rd., Ste. 123-135 Scottsdale, AZ 85251 480-926-6733 Fax 480-452-0837 E-mail: info@goaggressive.com Web: www.goaggressive.com AUDIO RESOURCES (AVR) 4323 E. Cotton Center Blvd.

Phoenix, AZ 85040 877-643-4204, 602-643-4200 Fax 602-643-4270 E-mail: sales@avrinc.com Web: www.avrinc.com MP&E 16585 N. 92nd St., Ste. B104 Scottsdale, AZ 85260 480-596-6699 Fax 480-596-0004 E-mail: phoenix@hdgear.tv Web: www.mayovideo.com SMARTSOURCE RENTALS 4630 E. Elwood St., Ste. 14 Phoenix, AZ 85040 480-829-6336, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com VER Video Equipment Rentals 4625 S. 32nd St. Phoenix, AZ 85040 602-900-8647, 602-900-8597 Fax 602-268-8014 E-mail: info@verrents.com Web: www.verrents.com

ARKANSAS

A/V ARKANSAS 819 W. 8th St. Little Rock,AR 72201 501-661-1164 E-mail: tom@avarkansas.com Web: www.avarkansas.com LITTLE ROCK ENTERTAINMENT P.O. Box 4364 Little Rock, AR 72214 501-396-9435 E-mail: info@littlerockentertainment.com Web: www.littlerockentertainment.com

CALIFORNIA (NORTHERN)

BLACK CAT SOUND SERVICE Grass Valley, CA 95949 530-268-1620, 530-277-3020 Fax 530-268-3267 E-mail: chrisc@nccn.net Web: www.blackcatsoundservice.com Contact: Chris Christensen GUITAR SHOWCASE RENTALS 3090 S. Bascom Ave.

San Jose, CA 95124 408-377-5864 E-mail: contact@guitarshowcase.com Web: www.guitarshowcase.com McCUNE AUDIO/VIDEO/LIGHTING 101 Utah Ave. San Francisco, CA 94080 800-899-7686, 650-873-1111 Fax 650-246-6702 E-mail: pmorris@mccune.com Web: www.mccune.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: no

musicconnection.com

ASTRO AUDIO VIDEO LIGHTING 6615 San Fernando Rd. Glendale, CA 91201 818-549-9915 Web: www.astroavl.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: no

Additional locations:

AUDIO DESIGN AND SERVICE, INC. 10764 Vanowen St. North Hollywood, CA 91605 818-754-0467 Fax 818-754-0495 E-mail: info@audiodesign-service.com Web: www.audiodesign-service.com

222 Ramona Ave., Ste. 1 Monterey, CA 93940 800-372-3611, 831-372-6038 Fax 831-372-0513 E-mail: bender@mccune.com

AUDIO PERCEPTION INC. Los Angeles, CA 818-693-0134 E-mail: Info@audioperception.com Web: www.audioperception.com Technical Services: Yes Studio Equip: Yes Musical Equip: No Lighting Equip: No FX Equip: No Stages Equip: No Cartage Equip: No Special Services: Studio design, install, acoustics and wiring. Custom cables patch bays and panels. Audio and DAW tech support, upgrades, and instruction.

168 E. Liberty Ave. Anaheim, CA 92801 800-486-7686, 714-578-1900 Fax 714-525-6002 E-mail: hodonovan@mccune.com PRO AUDIO REPAIRS 3150 18th St. #232 San Francisco, CA 94110 415-401-7828 E-mail: info@proaudiorepairs.com Web: www.proaudiorepairs.com EXPRESS VIDEO 2225 Palou Ave. San Francisco, CA 94124 415-255-9883 Fax 415-255-0139 E-mail: info_desk@expressmedia.tv Web: www.rentvideo.com

AUDIO RENTS INC. 1541 N. Wilcox Ave. Hollywood, CA 90028 323-874-1000 E-mail: info@audiorents.com Web: www.audiorents.com Studio Equip: yes Musical Equip: no Lighting: no FX: yes Stages: no Cartage: no

STUDIO INSTRUMENT RENTALS 1215 Fairfax Ave. San Francisco, CA 94124 415-957-9400 Fax 415-957-9470 E-mail: sfinfo@sir-usa.com Web: www.sir-usa.com VER Video Equipment Rentals 410 E. Grand Ave. S. San Francisco, CA 94080 650-620-7395, 650-620-7592 Fax 650-837-9488 E-mail: info@verrents.com Web: www.verrents.com

AUDIO REPAIR SPECIALISTS 6603 Independence Ave., Ste. E Canoga Park, CA 91303 818-346-3762 Web: www.arsrepair.com

CALIFORNIA (SOUTHERN) ABSOLUTE RENTALS 2633 N. San Fernando Blvd.

Burbank, CA 91504 818-842-2828, 310-560-2373 E-mail: dave@absoluteliveproductions.com Web: www.absoluterentals.com Studio Equip: yes Musical Equip: yes Lighting: yes Stages: yes Cartage: yes

BERTRAND’S MUSIC 13179-5 Black Mountain Rd. San Diego, CA 92129 888-780-1812 Web: www.bertrandmusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional locations: 12439 Poway Rd., Ste. C Poway, CA 92064 858-668-3244

ADVANCED MUSICAL ELECTRONICS 8665 Venice Blvd.

Los Angeles, CA 90034 310-559-3157 E-mail: advancedmusical@ca.rr.com Web: www.advancedmusical.com AMETRON PRO-AUDIO/VIDEO SALES & RENTALS 1546 N. Argyle Ave. Hollywood, CA 90028 323-466-4321 E-mail: info@ametron.com Web: www.ametron.com AMP CRAZY AMP REPAIR Hollywood, CA 323-654-4908 E-mail: ampcrazy@aol.com Web: www.ampcrazy.com AMP SHOP/BASSEXCHANGE 4870 Lankershim Blvd.

C O M P I L E D 60 August 2015

North Hollywood, CA 91601 Mailing Address: Amp Shop Bass Exchange 13701 Ventura Blvd.

Sherman Oaks, CA 91423 818-386-5500 Web: www.bassexchange.com

B Y

910 E. Highland Ave. San Bernardino, CA 92404 909-886-5338 23851 Via Fabricante 202 Mission Viejo, CA 92691 949-455-4163 BRETT ALLEN STUDIO RENTAL North Hollywood, CA 818-506-5568, 323-253-2277 Fax 818-5065581 E-mail: brettallen@earthlink.net Web: www.brettallenstudiorental.com Studio Equip: no Musical Equip: yes Lighting: No FX: no Stages: no

D E N I S E

Cartage: yes Special Services: The most extensive collection of guitars, amps, effects and tuners in L.A. Los Angeles’ finest in studio guitar tech service, intonation and setup specialist.

BROADCAST STORE, INC. 9420 Lurline Ave., Unit C Chatsworth, CA 91311 818-998-9100 Fax 818-998-9106 E-mail: sales@broadcaststore.com Web: www.broadcaststore.com *Note: pickups by appt. only CALIFORNIA STAGE & LIGHTING INC. 3601 W. Garry Ave. Santa Ana, CA 92704 714-966-1852 E-mail: sales@calstage.com Web: www.calstage.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes CANOGA SCHOOL OF MUSIC 7361 Canoga Ave. Canoga Park, CA 91304 818-340-4021 Email: tedkraut@aol.com Web: www.canogaschoolofmusic.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no CAPITAL AUDIO RENTAL Burbank, CA 818-953-9099 Web: www.capitalaudiorental.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no CASCADE STUDIOS 6611 Santa Monica Blvd.

Hollywood, CA 90038 323-461-3800 E-mail: info@cascadestudios.com Web: www.cascadestudios.net Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes CENTER STAGING 3407 Winona Ave. Burbank, CA 91504 818-559-4333 Fax 818-848-4016 E-mail: kerry@centerstaging.com Web: www.centerstaging.com Contact: Kerry Jensen Basic Rate: call for rates DAVID O. BROWN AUDIO TECHNICAL SERVICES 30473 Mulholland Hwy., Ste. 56 Agoura, CA 91301 818-874-9895 E-mail: recordingdoc@aol.com Web: www.audiotechnicalservices.com, www.microphonerepair.com DESIGN FX AUDIO P.O. Box 491087 Los Angeles, CA 90049 800-441-4415, 818-843-6555 Fax 818-562-6978 E-mail: tony@dfxaudio.com Web: www.dfxaudio.com Contact: Tony Pinnick Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: yes DIGITRON ELECTRONICS, INC. 7801 Telegraph Rd., Ste. D Montebello, CA 90640

C O S O 60

Download at musicconnection.com/industry-contacts 323-629-4371 E-mail: repairs@digitronelectronics.com Web: www.digitronelectronics.com

FX: no Stages: no Cartage: no

DRUM DOCTORS 520 Commercial St. Glendale, CA 91203 818-244-8123 E-mail: info@drumdoctors.com Web: www.drumdoctors.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes

GUITAR MERCHANT, THE 7503 Topanga Canyon Blvd.

Canoga Park, CA 91303 818-884-5905 E-mail: theguitarmerchant@yahoo.com Web: www.guitarmerchant.com

DRUM PARADISE 11803 Vose St. North Hollywood, CA 91605 818-762-7878 E-mail: info@drumparadise-la.com Web: www.drumparadise-la.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes FRET HOUSE, THE 309 N. Citrus Ave. Covina, CA 91723 626-339-7020, 800-BET-FRET E-mail: email@frethouse.com Web: www.frethouse.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no FUTARA ELECTRONICS COMPANY 665 S. Manchester Anaheim, CA 92802 714-535-6201 E-mail: service@futara.com Web: www.Futara.com GARDS MUSIC 848 S. Grand Ave. Glendora, CA 91740 626-963-0263 E-mail: info@gardsmusic.com Web: www.gardsmusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional locations: 350 S. Mountain Ave. Upland, CA 91786 909-946-4789 11837 E. Foothill Blvd.

Rancho Cucamonga, CA 91730 909-481-1515 GEARWORKS PRO AUDIO 4150 Lankershim Blvd.

North Hollywood, CA 91602 818-753-0083 E-mail: info@gearworksaudio.com Web: www.gearworksaudio.com Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: yes GPS ELECTRONICS 13045 Tom White Way, Ste. I Norwalk, CA 90650 562-802-0840 Fax 562-802-0846 E-mail: gpselectro@yahoo.com Web: www.gps-electronics.net/services.html GREGG BUCHWALTER 818-785-8611, 323-960-4358 E-mail: greggbuchwalter65@hotmail.com Web: www.buchwalterb3svc.com Clients: Ray Charles, Eric Clapton, the Who, Procol Harum, Alanis Morissette, House of Blues (West Hollywood), S.I.R., many churches and studios in Los Angeles and Orange County. *Note: Hammond and Leslie specialist.

Recording studio and production available.

GUITAR CONNECTION, THE 633 Rose Ave. Venice, CA 90291 310-396-3009 E-mail: theguitarconnection633@gmail.com Web: www.theguitarconnection.com Studio Equip: no Musical Equip: yes Lighting: no

HOLLYWOOD SOUND SYSTEMS 4209 Vanowen Pl. Burbank, CA 91505 323-466-2416 Fax 818-859-7580 Web: www.hollywoodsound.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes HOOK - THE STUDIO MICROPHONE RENTALS Los Angeles, CA 818-759-4665 E-mail: mfrenchik@fastmail.net Web: www.thehookstudios.com Contact: Mike Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: no Tech Services: no INSTRUMENTAL MUSIC INC. 1501 Thousand Oaks Blvd.

Thousand Oaks, CA 91360 805-496-3774 Web: www.instrumentalmusic.biz Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Addition locations: 3171 E. Main St. Ventura, CA 93003 805-654-9388 3328 State St. Santa Barbara, CA 93105 805-569-5055 KEYBOARD CONCEPTS 5539 Van Nuys Blvd.

Sherman Oaks, CA 91401 818-787-0201, 800-22-PIANO Fax 818-7871219 Web: www.keyboardconcepts.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional locations: 3704 E. Colorado Blvd.

Pasadena, Ca 91107 626-583-9126 3232 Santa Monica Blvd.

Santa Monica, CA 90404 310-586-5588 18285 Euclid Ave. Fountain Valley, CA 92708 Tustin, CA 92782 714-544-0088 Agoura Design Center 28501 Canwood St., Unit C Agoura Hills, CA 91301 805-379-9888 LA FX RECORDING SERVICES 5634 Cleon Ave. North Hollywood, CA 91601 818-769-5239 E-mail: info@lafx.com Web: www.lafx.com Contact: Dan Vicari Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no L.A. SOUND COMPANY INC. 9001 Canoga Ave. Canoga Park, CA 91304 818-772-9200 E-mail: rentals@lasoundco.com Web: www.lasoundco.com Studio Equip: yes

Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no

Additional location:

LON COHEN STUDIO RENTALS North Hollywood, CA 818-762-1195 Fax 818-762-1196 E-mail: office@loncohen.com Web: www.loncohen.com Basic Rate: call for rates Services: We rent top of the line backline (guitars, basses, amps, keyboards and drums) which can be heard on records from Aerosmith to ZZ Top and can be seen on television from Conan to Lopez. We also offer cartage, temp. controlled storage, and world class guitar, bass and amp repair.

MORNINGSTAR PRODUCTIONS, LLC 41213 Sandalwood Cir. Murrieta, CA 92562 888-409-4810 Web: www.msmp.com Studio Equip: no Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: no

MATES REHEARSAL & CARTAGE 5412 Cleon Ave. North Hollywood, CA 91601 818-779-0009 E-mail: Robertbrunner@matesinc.com Web: www.matesinc.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes McCABE’S GUITAR SHOP 3101 Pico Blvd.

Santa Monica, CA 90405 310-828-4497 Fax 310-453-4962 E-mail: mccabessm@aol.com Web: www.mccabes.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no *Note: Rentals are limited to instruments $500 or less. No day rentals McCUNE AUDIO/VIDEO/LIGHTING 168 E. Liberty Ave. Anaheim, CA 92801 714-578-1900, 800-486-7686 Fax 714-525-6002 E-mail: hodonovan@mccune.com Web: www.mccune.com Contact: Hugh O’Donovan Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: no Additional locations: San Francisco HQ 101 Utah Ave. San Francisco, CA 94080 800-899-7686, 650-873-1111 E-mail: pmorris@mccune.com Contact: Pat Morris Monterey McCune Office 222 Ramona Ave., #1 Monterey, CA 93940 800-372-3611, 831-372-6038 E-mail: vhucks@mccune.com Contact: Vince Hucks

2466 Fender Ave., Ste. E Fullerton, CA 92831 714-870-6716

MUSICIANS CHOICE STUDIOS 3727 S. Robertson Blvd.

Culver City, CA 90232 310-836-8998 Web: www.musicianschoicestudios.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: yes Additional locations: MUSICIANS CHOICE STUDIOS LAWNDALE 16200 Hawthorne Blvd.

Lawndale, CA 90260 310-214-0330 MUSICIANS CHOICE STUDIOS - TEMPE, AZ 2155 E. University Dr. Tempe, AZ 85281 480-966-8742 Additional Monthly Lockout Studios: West L.A., CA LAX/Westchester, CA Hollywood, CA Van Nuys, CA MUSIC MAKER RETAIL STORE 5701 E. Santa Ana Canyon Rd., Ste. J Anaheim, CA 92807 714-974-0830 Web: www.musicmakerinc.com Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no NIGHTINGALE STUDIOS - BURBANK 156 W. Providencia Ave. Burbank, CA 91502 818-562-6660 E-mail: nightingalesound@sbcglobal.net Web: www.nightingalestudios.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional location: 10623 Magnolia Blvd.

North Hollywood, CA 91601 818-562-6660

MEE Music Equipment Rentals Glendale, CA 602-955-3750 E-mail: meerental@gmail.com Web: www.meerentals.com Contact: Sam DeMarco

NORTHSTAR MOVING 9120 Mason Ave. Chatsworth, CA 91311 800-275-7767 E-mail: info@Northstarmoving.com Web: www.northstarmoving.com Cartage: yes

MICWORKS 17150 Newhope St., Ste. 701 Fountain Valley, CA 92708 714-435-0342, E-mail: sales@micworks.com Web: www.micworks.com Studio Equip: yes Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: no

OCEAN WAY Technical Services 6050 Sunset Blvd.

Hollywood, CA 90028 323-467-9375 Fax 323-467-3962 E-mail: rob@oceanwayrecording.com Web: www.oceanwayrecording.com

MIKE KAHRS KEYBOARDS P.O. Box 2166 Crestline, CA 92325 909-547-7336 E-mail: info@sound-management.com Web: www.sound-management.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: no Cartage: yes

PAUL JAMIESON STUDIO RENTAL 10929 Chandler North Hollywood, CA 91601 818-762-5759, 818-209-6590 E-mail: paulbjamieson@hotmail.com Contact: Paul Jamieson Studio Equip: yes Musical Equip: yes Lighting: no Storage: yes Cartage: yes PETE’S MUSIC AND GUITAR SHOP 2060 S. Euclid Anaheim, CA 714-534-7383 E-mail: guitarfish@petesmusic.com Web: www.petesmusic.com

August 2015

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61

Directory of Gear Rentals: Audio/Video/Cartage/Tech Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no

Contact: Teri Cray Live Sound: yes Technical Services: yes Lighting: no FX: no Stages: no Cartage: no

Additional locations: 29800 Bradley Rd., #107 Sun City, CA 951-301-8088 28780 Old Town Front St., Ste. A4 Temecula, CA 951-308-1688 PLATINUM AUDIO RENTALS 719 S. Main St. Burbank, CA 91506 818-563-1176, 310-428-8022 E-mail: info@platinumProAudio.com Web: www.platinumaudiorentals.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes PRO PIANO, LOS ANGELES warehouse only (not open to the public) 310-474-2216, 800-367-7777 E-mail: info-la@propiano.com Web: www.propiano.com Studio Equip: no Musical Equip: yes Lighting: no Cartage: yes Additional locations: Long Island City, NY 212-206-8794, 800-367-0777 E-mail: info-ny@propiano.com 760 Tennessee St. San Francisco, CA 94107 415-641-1210, 800-367-0777 Fax 415-6411870 E-mail: info-sf@propiano.com PROSOUND, INC. PROFESSIONAL SOUND AND MUSIC Musicians Repair Service 4593 Mission Gorge Pl. San Diego, CA 92120 619-583-7851 E-mail: sales@prosound.com Web: www.prosound.com RAL AUDIO SERVICES 1605 Pacific Ave., Ste. 51 Oxnard, CA 93033 818-886-4002, 866-455-3997 Fax 818-886-4012 E-mail: contact@ralaudio.com Web: www.ralaudio.com Contact: Richard Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: no RP STUDIOS, INC. 5716 Cahuenga Blvd.

North Hollywood, CA 91606 818-859-0090 Web: www.facebook.com/RPSTUDIOSINC Basic Rate: Please call, monthly lockout SAN DIEGO SOUND AND MUSIC REPAIR 6555 El Cajon Blvd.

San Diego, CA 92115-2705 619-582-8511 E-mail: info@audiodesign.us Web: www.sdsmr.com SANTA MONICA MUSIC CENTER 1901 Santa Monica Blvd.

Santa Monica, CA 90404 310-453-1928 Web: www.santamonicamusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no Additional location: Culver City Music Center 10862 Washington Blvd.

Culver City, CA 90230 310-202-6874 SEQUOIA SOUND SERVICES 5183 Inglewood Blvd.

Los Angeles, CA 90066 310-397-4826 E-mail: sequoiasnd@aol.com

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SINGER MUSIC 1217 N. Hacienda Blvd.

La Puente, CA 91744 626-917-9300 Fax 626-917-9302 Web: www.singermusic.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no SMARTSOURCE RENTALS 5732 Buckingham Parkway Culver City, CA 90230 310-417-3544, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com

Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: yes SST, INC. Synthesizer Systems Technologies, Inc. 10907 Magnolia Blvd., Ste. 425 North Hollywood 818-907-7780 E-mail: sst.shop@yahoo.com Web: www.sstsynths.com Services: Synthesizer & Computer rental Additional location: Nashville, TN 615-327-3500 E-mail: sstmusiccity@gmail.com

408 N. Canal St., Ste. D San Francisco, CA 94080 650-583-5340

STUDIO 116 CORP. 13136 Saticoy St., Unit G North Hollywood, CA 91605 323-274-0220 E-mail: rental@studio116corp.com Web: www.studio116corp.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: no Services: We are an Event production company. We rent sound, lighting & projection for all kinds of events.

SOCAL PRODUCTIONS 1623 Maria St. Burbank, CA 91504 818-565-3333 E-mail: rentals@socalps.com Web: www.socalps.com Studio Equip: Yes Musical Equipment: No Lighting: No FX: No Stages: No Video: Yes Cartage: No

STUDIO INSTRUMENT RENTALS 6465 Sunset Blvd.

Los Angeles, CA 90028 323-957-5460 Fax 323-464-7120 E-mail: lainfo@sir-usa.com Web: www.sirla.com Contact: Fred Rose Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes

SOUND CHECK AUDIO Los Angeles, CA 90036 323-939-7777 E-mail: info@soundcheckaudio.com Web: www.soundcheckaudio.com Studio Equip: no Musical Equip: yes Lighting: yes FX: yes Stages: no Cartage: yes *By appointment only

Additional locations:

Additional locations: 7243 Engineer Rd., Ste. E San Diego, CA 92111 858-278-9666

SOUND-MANAGEMENT 2466 E. Fender Ave., Ste. E Fullerton, CA 92831 714-870-6716 E-mail: info@sound-management.com Web: www.sound-management.com Contact: Mike Kahrs Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes SOUND STREET STUDIOS 7025 Canby Ave. Reseda, CA 91335 818-609-9972 E-mail: info@soundstreetstudios.com Web: www.soundstreetstudios.com Contact: Ed Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: no Cartage: no SOUND-TECH STUDIO 24300 Country Rd. Moreno Valley, CA 92557 951-243-6666 E-mail: soundtechstudio@yahoo.com Web: www.facebook.com/soundtechmusic Contact: Allan Johnson Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: no Cartage: no SRS Synthesizer Rental Service 2268 Ben Lomond Dr. Los Angeles, CA 90027 323-660-4065 E-mail: info@2SRS.com Web: www.synthesizerrentalservice.com Studio Equip: yes

74830 Velie Way, Ste. E Palm Desert, CA 92260 760-340-4864 Fax 760-836-0252 E-mail: psinfo@sir-usa.com Web: www.sir-usa.com 4620 Santa Fe St. San Diego, CA 92109 858-274-1384 Fax 858-274-1906 E-mail: sdinfo@sir-usa.com Web: www.sir-usa.com STUDIO WEST OF SAN DIEGO 11021 Via Frontera, Ste. A San Diego, CA 92127 858-592-9497, Fax 858-592-9580 E-mail: chris@studiowest.com Web: www.studiowest.com Contact: Chris Chan, Studio Manager Studio Equip: yes Musical Equip: no Lighting: no FX: yes Stages: no Cartage: yes Tech services: yes SWING HOUSE REHEARSAL & RECORDING 3229 Casitas Ave. Los Angeles, CA 90039 323-850-4990 E-mail: info@swinghouse.com Web: www.facebook.com/SwingHouse, www.swinghouse.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: yes TECH SHOP, THE Studio City, CA 818-508-1070 E-mail: info@the-techshop.com, info@recordingstudiowiring.com Web: www.recordingstudiowiring.com Services: Wiring and Installations, Gear Repair, Acoustical Consulting and Design.

THIRD ENCORE 10917 Vanowen St. North Hollywood, CA 91605 818-753-0148 Fax 818-753-0151 E-mail: thirdencorerentals@yahoo.com Web: www.3rdencore.com Contact: John Hoik Rooms: 6 air conditioned studios from 900-2,400sq. ft., each including a private production office and full monitoring P.A. Fullservice, professional facility. Quiet, safe, clean

and very private. Great parking. Daily, weekly or monthly lockout rates available.

Services: Full instrument and backline rental, featuring large selection of all major brands including Mesa Boogie, Yamaha, DW, Roland, Tama, Orange, Vox, Sabian, Zildjian, Ampeg, Korg and Marshall gear. Private storage lockers, cartage services.

Equipment: All rooms come with Adamson / Lab Gruppen monitoring system. Digico, Avid, Yamaha, Midas consoles available.

Additional locations: See Annex Studios Listing for 7 additional Valley lockout locations and 1 Anaheim lockout location.

TIM JORDAN RENTALS 11320 Chandler Blvd., Ste. D North Hollywood, CA 91601 818-755-9011 E-mail: info@timjordanrentals.com Web: www.timjordanrentals.com Studio Equip: yes Musical Equip: no Lighting: no FX: no Stages: no Cartage: no TREW AUDIO 3325 Cahuenga Blvd. W. Los Angeles, CA 90068 888-293-3030, 323-876-7525 E-mail: info@trewaudio.com Web: www.trewaudio.com VALLEY SOUND MUSIC TECHNOLOGIES 5527 Cahuenga Blvd.

North Hollywood, CA 91601 818-755-2801 E-mail: stretch@valleysoundla.com, zita@valleysoundla.com Web: www.valleysoundla.com VIDEOCAM 1261 S. Simpson Cir. Anaheim, CA 92806 888-772-8226, 714-772-2002 E-mail: info@videocam.net Web: www.videocam.net Studio Equip: yes Musical Equip: yes Lighting: yes FX: no Stages: yes Cartage: no VIDEO RESOURCES 1809 E. Dyer Rd., Ste. 307 Santa Ana, CA 92705 800-261-7266, 949-261-7266 E-mail: ecar@videoresources.com Web: www.videoresources.com Studio Equip: yes Musical Equip: no Lighting: yes FX: no Stages: yes Cartage: no Additional location: 110 Campus Dr. Marlborough, MA 01752 508-485-8100 VINTAGE STUDIO RENTAL North Hollywood, CA 818-994-4849 Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes VIRTUAL SOUNDS TECHNOLOGY 1270 Lincoln Ave., Ste. 1000 Pasadena, CA 91103 626-794-8196 Fax 626-794-0340 E-mail: sales@vstservice.com Web: www.vstservice.com WESTCOAST SOUND, INC. 3030-A S. Fairview Ave. Santa Ana, CA 92704 714-850-0471 Fax 714-850-9972 Web: www.westcoastsound.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no WEST L.A. STUDIO SERVICES 2033 Pontius Ave. Los Angeles, CA 90025 310-478-7917 Fax 310-479-5961 E-mail: ricky@westlastudios.com Web: www.westlastudios.com Contact: Rick or any W.L.A.S.S. Employee

Download at musicconnection.com/industry-contacts Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no WILDFIRE STUDIOS 640 S. San Vicente Blvd.

Los Angeles, CA 90048 323-951-1700 Fax 323-951-1710 Web: www.wildfirepost.com Studio Equip: no Musical Equip: no Lighting: no FX: no Stages: yes Cartage: no Additional locations: 800 Common St. New Orleans, LA 70112 323-951-1700, Fax 323-951-1710 2505 Jefferson St. N.E. Albuquerque, NM 87110 323-951-1700 Fax 323-951-1710

COLORADO

CEAVCO AUDIO VISUAL 6240 W. 54th Ave. Arvada, CO 80002 303-539-3500 Fax 303-539-3501 E-mail: solutions@ceavco.com Web: www.ceavco.com Additional location: 5078 List Dr. Colorado Springs, CO 80919 719-636-2866 Fax 719-636-2857 FAV Ford Audio-Video 4230 Carson St. Denver, CO 80239 800-654-6744, 720-374-2345 E-mail: logah@fordav.com Web: www.fordav.com IMAGE AUDIOVISUALS 2130 S. Dahlia St. Denver, CO 80222 800-818-1857, 303-758-1818 E-mail: rentalsales@imageav.com Web: www.imageav.com

ALL SOUND PRO (see main office under Pennsylvania) Bob: 717-496-1645 Shelby: 717-809-6904 E-mail: allsoundpro@gmail.com, bob@allsoundpro.com Web: www.allsoundpro.com Contact: Bob Ranalli, Shelby Bacz Studio Equip: yes Musical Equip: yes Lighting: yes Stages: yes Cartage: yes-locally

CP COMMUNICATIONS 3506 St. Valentine Way, Unit #6 Orlando, FL 32811 800-373-6827, 407-843-4225 E-mail: kevin.obrien@cpcomms.com Web: www.cpcomms.com

VER Video Equipment Rental Washington DC 866-583-7837, 301-731-9560 Fax 301-731-9570 E-mail: info@verrents.com Web: www.verrents.com

MIDTOWN VIDEO 4824 S.W. 74th Ct. Miami, FL 33155 305-669-1117 E-mail: info@midtownvideo.com Web: www.midtownvideo.com, www.facebook.com/midtownvideo

FLORIDA

A.A.V.I.D. Automated Audio Video Integration and Design 11714 Emerald Coast Pkwy., Ste. 3 Miramar Beach, FL 32550 850-502-4154 E-mail: info@aavidps.com Web: www.aavidps.com BUDGET VIDEO RENTALS 1825 N.E. 149th St. Miami, FL 33181 800-772-1111, 305-945-8888 E-mail: rentals@budgetvideo.com Web: www.budgetvideo.com CCI HD 7980 N. Atlantic Ave. Cape Canaveral, FL 32920 321-783-5232 E-mail: info@cciflorida.com Web: www.cciflorida.com COMMUNICATIONS CONCEPTS, INC. 7980 N. Atlantic Ave. Cape Canaveral, FL 32920 321-783-5232 Fax 321-799-1016 E-mail: info@cciflorida.com Web: www.cciflorida.com

GREAT SOUTHERN STUDIOS, THE 15221 N.E. 21st Ave. Miami Beach, FL 33162 305-944-2464 Fax 305-944-9920 E-mail: info@gssmiami.com Web: www.greatsouthernstudios.com

SMARTSOURCE RENTALS 9401 Southridge Park Ct., Ste. 600 Orlando, FL 32819 407-582-9807, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com STUDIO INSTRUMENT RENTALS 12200 N.E. 14th Ave. Miami, FL 33161 305-891-3350 Fax 305-891-3550 E-mail: miinfo@sir-usa.com Web: www.sir-usa.com Additional location: 3400 Rio Vista Ave. Orlando, FL 32805 407-826-1374 Fax 407-826-1364 E-mail: orlinfo@sir-usa.com TAI AUDIO 5828 Old Winter Garden Rd. Orlando, FL 32835 800-486-6444, 407-296-9959 E-mail: info@taiaudio.com Web: www.taiaudio.com VER Video Equipment Rentals 1611 Cypress Lake Dr.

SHAPED MUSIC, INC. 1760 LaPorte Ave., Suite 3 Fort Collins, CO 805241 970-221-2315 E-mail: randyc@shapedmusic.com Web: www.shapedmusic.com Services: Shaped Music, Inc. is your sound, lighting, and backline production company serving all of Colorado including Denver, Boulder, Colorado Springs, Fort Collins, Grand Junction, Telluride, Aspen, Vail, Steamboat Springs, Keystone, Copper Mountain, and beyond. We also serve all of Wyoming, Nebraska, Utah, and New Mexico. *Note: National touring & festivals also available. Pro Audio sales.

SPECTRUM AUDIO VISUAL 351 W. 45th Ave. Denver, CO 80216 800-477-4752, 303-477-4456 E-mail: info@spectrumav.com Web: www.spectrumav.com S.S.S. PRODUCTIONS 11165 Clarkson St. Northglenn, CO 80233 303-875-5678, 720-296-1548 E-mail: events@sssproductions.net Web: www.sssproductions.net

CONNECTICUT M COMMUNICATIONS 48 Union St. Stamford, CT 06906 877-287-4697 Fax 203-324-9482 E-mail: rentals@mcommunications.com Web: www.mcommunications.com

DELAWARE MIDDLETOWN MUSIC 4380 Summit Bridge Rd. Middletown, DE 19709 302-376-7600 E-mail: sales@middletownmusic.com Web: www.middletownmusic.com

DISTRICT OF COLUMBIA CONNECTING POINT MULTIMEDIA, INC. Washington, DC 888-434-8880, 703-527-8220 E-mail: info@cpmmonline.com Web: www.cpmmonline.com

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Directory of Gear Rentals: Audio/Video/Cartage/Tech Orlando, FL 32837 888-582-0350, 407-582-0350 Fax 407-582-0370 E-mail: info@verrents.com Web: www.verrents.com

GEORGIA

ATLANTA SOUND AND LIGHTING 1400 Vijay Dr. Atlanta, GA 770-455-7695 E-mail: aslscott@mindspring.com Web: www.atlantasoundandlight.com CONCERT AUDIO Atlanta, GA 770-434-2437 E-mail: andrew@concertaudio.com Web: www.concertaudio.com FRESH TOUCH MINISTRIES, INC. 2000 W. McIntosh Rd. Griffin, GA 30224 770-228-2307 Web: www.freshtouch.org LIGHTNIN’S 2555 University Pkwy.

Lawrenceville, GA 30043 770-963-1234 Fax 770-338-4151 E-mail: mpruehs@lightnin.net Web: www.lightnin.net ON EVENT SERVICES 6550 McDonough Dr. Norcross, GA 30093 800-967-2419 E-mail: service@ONeventservices.com Web: www.oneventservices.com PC&E ATLANTA Production Consultants & Equipment 2235 DeFoor Hills Rd. Atlanta, GA 30318 404-609-9001 E-mail: marketing@pce-atlanta.com Web: www.pce-atlanta.com SMARTSOURCE 1850 MacArthur Blvd., N.W., Ste. A Atlanta, GA 30318 404-352-0900, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com VER Video Equipment Rentals 2105 Nancy Hanks Dr. Norcross, GA 30071 770-300-0401 Fax 770-300-0341 E-mail: info@verrents.com Web: www.verrents.com

HAWAII

E-mail: info@chicagohd.com Web: www.chicagohd.com DANCE ALL NIGHT! INC. 1340 Woodland Ln. Riverwoods, IL 60015 877-940-9788, 847-940-9788 E-mail: bruce@danceallnight.com Web: www.danceallnight.com Studio Equip: no Musical Equip: no Lighting: yes and Video Projection FX: yes Stages: no Cartage: yes Tech services: yes MCS Midwest Conference Service 35 N. Garden Ave. Roselle, IL 60172 888-MCS-EXPO, 630-351-EXPO, 863-602-6659 E-mail: danderson@mcsexpo.com Web: www.mcsexpo.com NOVATOO AUDIO VISUAL 120 Easy St., Unit 3 Carol Stream, IL 60188 630-871-2222 E-mail: novatooinfo@sbcglobal.net Web: www.novatoo.com Contact: Tim Novak, rental sales Mgr. SMARTSOURCE RENTALS 2025 Glen Ellyn Rd. Glendale Heights, IL 60139 630-588-0200, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com SOUND CORE MUSIC & VIDEO 122 S. Illinois Ave. Carbondale, IL 62901 618-457-5641 Web: www.soundcoremusic.com STUDIO INSTRUMENT RENTAL 2835 N. Kedzie Ave. Chicago, IL 60618 773-478-8500, 773-478-8555 E-mail: chinfo@sir-usa.com Web: www.sir-usa.com SWING CITY MUSIC 1811 Vandalia Collinsville, IL 62234-5307 618-345-6700 E-mail: swingcitymusic@ameritech.net Web: www.swingcitymusic.com Additional location: 244 S. Buchanan Edwardsville, IL 62025-2109 618-656-5656

AUDIO VISUAL HAWAII 74-5489 Loloku St., #8 Kailua-Kona, HI 96740 808-331-8403 E-mail: HawaiiSales@AVServs.com Web: www.audiovisualhawaii.com *Services all Islands

VER Video Equipment Rentals 3810 N. Carnation St. Franklin Park, IL 60131 847-671-4966 Fax 847-671-4936 E-mail: info@verrents.com Web: www.verrents.com

HAWAII SOUND & VISION P.O. Box 2267 Kailua-Kona, HI 96745 808-982-8330, 877-982-8330 E-mail: aloha@hawaiisav.com Web: www.hawaiisav.com

ZACUTO 401 W. Ontario, Ste. 100 Chicago, IL 60610 888-294-FILM (3456), 312-863-FILM (3456) E-mail: rentals@zacuto.com Web: www.zacuto.com

KAUAI MUSIC & SOUND 4-1177 Kuhio Hwy. Kapaa, HI 96747 808-823-8000 E-mail: Info@kauaimusicandsound.com Web: www.kauaimusicandsound.com MYSTICAL SOUNDS PRODUCTIONS P.O. Box 75152 Honolulu, HI 96836 808-947-3115 Fax 808-947-3115 E-mail: mspdjs@gmail.com Web: www.mysticalsoundsproduction.com

ILLINOIS

AAA RENTAL SYSTEM 3020 W. 167th St. Markham, IL 60428 708-210-1200, 312-666-2100 E-mail: info@aaarental.com Web: www.raarental.com AV CHICAGO 619 W. Taylor St. Chicago, IL 60607 312-229-4100 Fax 312-943-9688 Web: www.avchicago.com CHICAGO HD CORP. 1 E. Erie St., Ste. 350 Chicago, IL 60611 312-951-9610 Fax 312-951-9612

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INDIANA

SOUND COMPANY, THE 51535 Bittersweet Rd. Granger, IN 46530 574-277-0032 E-mail: cpaluzzi@nkn.com Web: www.thesoundcompany.com STUDIO ONE INC. 25833 SR. 2 South Bend, IN 46619 800-888-9700, 574-232-9084 Fax 574-232-2220 E-mail: info@studioOneSB.com Web: www.studioonesb.com

IOWA

CONFERENCE TECHNOLOGIES, INC. 333 S.W. 9th, Ste. N Des Moines, IA 50309 515-280-9800, 800-743-6051 E-mail: info@prattav.com Web: conferencetech.com Additional location: 820 N. 15th Ave. Hiawatha, IA 52233 319-363-8144, 800-743-6051 5000 Tremont Ave. Davenport, IA 52807 563-359-1825, 855-329-2844

RIEMAN MUSIC 6501 Douglas Ave. Urbandale, IA 50322 515-278-4685 800-962-3658 E-mail: websales@riemans.com Web: www.riemans.com Contact: J.C. Wilson Additional locations: Des Moines - East 800-372-6051 515-262-0365 Ames, IA 50010 800-234-4203, 515-233-4203 Mason City, IA 50401 800-397-4606, 641-423-6563 Fort Dodge 800-362-1627 515-576-2189 Creston 800-947-9139 641-782-5121

KANSAS

THE EVENT LINE Kansas City, KS 888-254-6535 E-mail: info@theeventline.com Web: www.theeventline.com Additional locations: Atlanta, GA Warehouse 770-562-0318 (Atlanta) 205-572-4599 (Birmingham) 615-724-3422 (Nashville) St. Louis, MO Warehouse 314-255-2882 (St Louis) 618-307-0030 (Metro East) 217-718-3908 (Springfield) Kansas City, MO Warehouse 816-659-7600 (Kansas City) 785-422-3605 (Topeka) 816-659-7600 (St. Joseph) 573-234-6610 (Columbia) Chicago, IL (entire region) 312-473-3779 LIGHTS ON KANSAS CITY 1720 Merriam Ln. Kansas City, KS 66106 800-229-5876, 913-362-6940 Fax 913-362-6958 E-mail: kansascity@lightson.com Web: www.lightson.com

LOUISIANA

PERKINS PRODUCTIONS 101 N. Magnolia Dr. Covington, LA 70433 985-867-8889 E-mail: sales@perkinsvideo.com Web: www.perkinsvideo.com THE PINNACLE GROUP Lafayette, LA 800-524-7462, 337-593-1149 E-mail: support@pingroup.com Web: www.pingroup.com Additional locations: Baton Rouge, LA 225-767-1148 Lake Charles 337-477-7469 Houston,TX 337-802-1916 SMARTSOURCE RENTALS 4743 River Rd. New Orleans, LA 70121 504-737-2247, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com VER Video Equipment Rentals 3000 Lausat St. Metairie, LA 70001 504-831-6966 Fax 504-834-7537 E-mail: info@verrents.com Web: www.verrents.com

MAINE

AV TECHNIK LLC. 76 Darling Ave. South Portland, ME 04106 207-699-0115 E-mail: info@avtechnik.com Web: www.avtechnik.com STARBIRD MUSIC 500 Forest Ave.

Portland, ME 04101 207-775-2733, 207-828-0888 Web: www.starbirdmusic.com

MARYLAND

CPR MULTIMEDIA SOLUTIONS 7812 Cessna Ave. Gaithersburg, MD 20879 301-590-9400 E-mail: info@cprmms.com Web: www.cprmms.com DSL SOUND, INC. 67 W. Baltimore St., Ste. 101 Hagerstown, MD 21740 800-966-1070, 301-797-1070 Fax 301-797-3009 E-mail: info@dslsound.net Web: www.dslsound.net Additional locations: Baltimore, MD 410-522-2061, 800-966-1070 Dover, DE 302-697-7515, 800-966-1070 ALL SOUND PRO (see main listing under Pennsylvania) Bob: 717-496-1645 Shelby: 717-809-6904 E-mail: allsoundpro@gmail.com, bob@allsoundpro.com Web: www.allsoundpro.com Contact: Bob Ranalli, Shelby Bacz Studio Equip: yes Musical Equip: yes Lighting: yes Stages: yes Cartage: yes-locally VER Video Equipment Rentals 4390 Parliament Pl., Ste. B Lanham, MD 20706 866-583-7837, 301-731-9560 Fax 301-731-9570 E-mail: info@verrents.com Web: www.verrents.com

MASSACHUSETTS

ALL TECH SOUND & PRODUCTION SERVICES, INC. 13 Robbie Rd. Avon, MA 02322 508-583-4000 Fax 508-583-1378 E-mail: info@alltechsound.com Web: www.alltechsound.com Services: Provides sound, backline, lighting and stages for concert and corporate events KLONDIKE SOUND COMPANY 37 Silvio Conte Dr. Greenfield, MA 01301 413-772-2900 Fax 413-772-2199 E-mail: info@klondikesound.com Web: www.klondikesound.com PURE ENERGY ENTERTAINMENT 300 Andover St., PMB 333 Peabody, MA 01960 978-646-9226 E-mail: info@pureenergyentertainment.com Web: www.pureenergyentertainment.com SMARTSOURCE RENTALS 37 Southwest Park Westwood, MA 02090 781-320-6200, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com MIRANDA TECHNOLOGIES Northeast region 973-635-1656, 908-361-0799 E-mail: john.palma@miranda.com Web: www.miranda.com RULE BROADCAST SYSTEMS, INC. 1284 Soldier’s Field Rd. Boston, MA 02135 800-785-3266, 617-277-2200 Fax 617-277-6800 E-mail: answers@rule.com Web: www.rule.com SOUNDVISION 7 Lincoln St., Ste. 200-A Wakefield, MA 01880 781-245-9655, 800-547-4343 E-mail: sales@svav.com Web: www.svav.com Additional location: 310 Hurricane Ln., Ste. 1 Williston, VT 05495 802-871-5130 TALAMAS BROADCAST EQUIPMENT 145 California St.

Download at musicconnection.com/industry-contacts Newton, MA 02458 800-941-2446, 617-928-0788 E-mail: info@talamas.com Web: www.talamas.com VER Video Equipment Rentals 226 W. Cummings Park Woburn, MA 01801 866-255-4837, 781-937-7612 Fax 781-937-0682 E-mail: info@verrents.com Web: www.verrents.com ZASCO PRODUCTIONS, LLC 340 McKinstry Ave., Ste. 400 Chicopee, MA 01013 800-827-6616, 413-534-6677 E-mail: info@zasco.com Web: www.zasco.com

MICHIGAN GEARHOUSE CREATIVE Ferndale, MI 313-590-5117, 313-590-5116 Web: www.gearhouse.net Contact: Michael Kudreiko, Susan Leigh IN TUNE RENTALS, LLC P.O. Box 200 Novi, MI 48376 248-735-0000 E-mail: info@intunerentals.com Web: www.intunerentals.com JEFF MOON PRODUCTION SERVICES 13320 Northend, Ste. 3000 Oak Park, MI 48237 248-280-9900 E-mail: info@moonlinkstudios.com Web: www.moonlinkstudios.com RUSSELL VIDEO 4528 Concourse Dr. Ann Arbor, MI 48108 734-213-0500 E-mail: inbox@russellvideo.com Web: www.russellvideo.com VER Video Equipment Rentals 21304 Hilltop St. Southfield, MI 48034 248-304-9749 Fax 248-304-9926 E-mail: info@verrents.com Web: www.verrents.com

MINNESOTA ALPHA AUDIO & VIDEO 7711 Computer Ave. Edina, MN 55435 952-896-9898, 800-388-0008 E-mail: info@alphavideo.com Web: www.alphavideo.com EMI RENTALS 4719 42nd Ave., N. Minneapolis, MN 55422 800-832-5174, 612-789-2496 E-mail: info@EMlaudio.com Web: www.emirentals.com LIGHTS ON MINNEAPOLIS 61 Bedford St. S.E. Minneapolis, MN 55414-3553 800-336-6620, 612-331-6620 Fax 612-331-6601 E-mail: minneapolis@lightson.com Web: www.lightson.com TOTAL MUSIC SERVICES 2300 Myrtle Ave., Ste. 115 St. Paul, MN 55114 800-779-7368, 651-644-7102 Fax 651-644-8240 E-mail: info@totalmusic.com Web: www.totalmusic.com Contact: Billie Kahle Studio Equip: no Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes Tech services: yes

MISSOURI EVENT LINE, THE St. Louis, MO 888-254-6535, 314-255-2882 E-mail: info@theeventline.com Web: www.theeventline.com Additional locations: Kansas City 816-659-7600 Metro-East 618-307-0030

FAZIOS 15440 Manchester Rd. Ellisville, MO 63011 888-687-4200, 636-227-3573 E-mail: dank@faziosmusic.com Web: www.faziosmusic.com SMARTSOURCE RENTALS 111 Hilltown Village Center, Ste. 208 Chesterfield, MO 63017 800-285-7784 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com

NEBRASKA

MIDWEST SOUND & LIGHTING, INC. 4318 S. 50th St. Omaha, NE 68117 800-981-9521, 402-731-6268 E-mail: info@mwsound.com Web: www.mwsound.com Additional location: 2425 ‘O’ St. Lincoln, NE 68510 800-617-4298, 402-474-4918

NEVADA

AVD Audio Video Discount Las Vegas, NV 702-566-1210 E-mail: info@audiovideodiscount.com Web: www.audiovideodiscount.com AV VEGAS PRODUCTIONS 4375 S. Valley View, Ste. C Las Vegas, NV 89103 702-878-5050 E-mail: sales@avvegas.com Web: www.avvegas.com LEFCO VIDEO SERVICES 600 W. Sunset Rd., Ste. 103 Henderson, NV 89015 702-566-1770 Fax 702-566-1798 E-mail: info2@lefco.com Web: www.lefco.com LEVY PRODUCTION GROUP 5905 S. Decatur Blvd., Ste. 1 Las Vegas, NV 89118 702-551-4178 E-mail: crystle@levyproductiongroup.com Web: www.levyproductiongroup.com SMARTSOURCE RENTALS 3915 W. Hacienda Ave., Ste. A-101 Las Vegas, NV 89118 702-791-2500, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com STUDIO INSTRUMENT RENTALS, INC. 4545 Cameron St., Bldg. A Las Vegas, NV 89103 702-382-9147, 702-384-5638 E-mail: ivinfo@sir-usa.com Web: www.sir-usa.com VER Video Equipment Rentals 3855 W. Harmon Ave. Las Vegas, NV 89103 877-837-8342, 702-895-9777 Fax 702-8957377 E-mail: info@verrents.com Web: www.verrents.com

NEW JERSEY

201-568-6555, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com

NEW MEXICO

AV SYSTEMS, INC. 1000 Cordova Rd., Ste. 303 Santa Fe, NM 87505 505-982-6300 E-mail: avrental@avsystems.com Web: www.avsystems.com ELLIOTT LOCATION EQUIPMENT 3120 Blake Rd. Albuquerque, NM 87105 505-328-0909, 505-247-2511, 310-915-1744 Web: www.elliottlocationequipment.com FIELD & FRAME 107 Tulane S.E. Albuquerque, NM 87106 505-265-5678 Fax 505-255-2735 E-mail: fieldandframe@yahoo.com Web: www.fieldandframe.com

NEW YORK

CARROLL MUSICAL INSTRUMENT RENTALS, LLC 625 W. 55th St., Fl. 6 New York, NY 10019 212-868-4120 Web: www.carrollmusic.com

E C PROFESSIONAL VIDEO 253 W. 51st St. New York, NY 10019 212-333-5570, 212-586-6156 E-mail: info@ecprovideo.com Web: www.ecprofessionalvideo.com FINGER LAKES AUDIO VIDEO RENTAL 119 E. Elm St. Penn Yan, NY 14527 888-353-3562 E-mail: info@fingerlakesentertainment.com Web: www.facebook.com/fledj, fingerlakesentertainment.com FUNKADELIC STUDIOS, INC. 209 W. 40th St., Fl. 5 New York, NY 10018 212-696-2513 E-mail: funkadelicstudios@gmail.com Web: www.funkadelicstudios.com HELLO WORLD 118 W. 22nd St., Fl. 2 New York, NY 10011 212-243-8800 E-mail: rentals@hwc.tv Web: www.hwc.tv

COLLEGIUM SOUND, INC. 35-41 72nd St. Jackson Heights, NY 11372 718-426-8555 E-mail: soundman@computer.org Web: www.minstrelrecords.com Contact: Don Wade

INS & OUTS 60 Jansen Rd. New Paltz, NY 12561 845-256-0899, 914-388-4920 Fax 845-256-1484 E-mail: sfxone@aol.com Web: www.insandoutssound.webs.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: yes

CP COMMUNICATIONS 200 Clearbrook Rd., #148 Elmsford, NY 10523 914-345-9292, 800-762-4254 Fax 914-345-9222 E-mail: aaon.segarra@cpcomms.com Web: www.cpcomms.com

INTERACTIVE VISION SOLUTIONS Audio Visual Equipment Rental in NY.C. 248 W. 35th St. New York, NY 10001 212-729-4305 E-mail: gene@audiovideonyc.com Web: www.audiovideonyc.com

Additional locations:

KEYBOARD INSTRUMENT RENTALS 1697 Broadway, Ste. 504 New York, NY 10019 212-245-0820 Contact: Danny Brill E-mail: keyboardrentals@aol.com Web: www.keyboardrentalsnyc.com

3506 St. Valentine Way, Unit #6 Orlando, FL 32811 800-373-6827, 407-843-4225 E-mail: kevin.obrien@cpcomms.com Web: www.cpcomms.com West Coast: Brian Starkey Brian.starkey@cpcomms.com 800-762-4254 DJ PRO AUDIO 27 W. St. Williamsburg, Brooklyn, New York City 855-435-4327 Web: www.djpagear.com DREAMHIRE LLC 36-36 33rd St., Ste. 102 Long Island City, NY 11106 800-234-7536, 212-691-5544 E-mail: info@dreamhire.com Web: www.dreamhire.com Studio Equip: yes Musical Equip: yes Lighting: yes-LED for parties, weddings, etc FX: yes (reverbs, delays, etc) Stages: no Cartage: only our own equipment Tech services: supplied with our equipment as required

LENTINI COMMUNICATIONS 44-02 11th St., Ste. 507A Long Island City, NY 11101 718-361-6926, 212-206-1452, 212-206-1453 E-mail: nywalkie1@aol.com Web: www.lentinicommunications.com LIMAN VIDEO RENTAL 341 & 330 W. 38th St. New York, NY 10018 800-251-4625, 212-594-0086 E-mail: lvrusa@lvrusa.com Web: www.lvrusa.com Contact: Ralph, Ian, Michael LLOYD SOUND, INC. 3915 Highland Rd. Cortland, NY 13045 607-753-1586, 607-423-1251 E-mail: john@lloydsound.com Web: www.lloydsound.com Contact: John Lloyd LONG ISLAND VIDEO ENTERPRISES 110 Pratt Oval

SHADOWSTONE One Entin Rd. #2 Clifton, NJ 07014 973-458-9550 Fax 973-458-1550 E-mail: info@shadowstone.com Web: www.shadowstone.com Additional location: Washington, DC 202-635-9400 Fax 202-635-0045 WESTFIELD AUDIO VISUAL 1012 Greeley Ave. Union, NJ 07083 908-838-9090 212-776-3300 E-mail: info@westfieldav.com Web: www.westfieldav.com SLD LIGHTING 36-05 Broadway Fair Lawn, NJ 07410 800-245-6630, 2-1-373-2700 Fax 212-956-6537 E-mail: sales@sldlighting.com Web: www.sldlighting.com SMARTSOURCE RENTALS 490 S. Dean St. Englewood, NJ 07631

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Directory of Gear Rentals: Audio/Video/Cartage/Tech Glen Cove, NY 11542 516-759-5483 E-mail: info@longislandvideo.com Web: www.longislandvideo.com MINERVA AUDIO VISUAL, INC. 56-32 59th St. Maspeth, NY 11378 866-843-0300, 718-366-0600, 718-366-1148 E-mail: customerservice@minervaav.com Web: www.minervaav.com Contact: Chris Roach Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes Tech services: yes PERCEPTION AUDIO-VISUAL SERVICES 424 W. 33rd St., Ste. #LL30 New York, NY 10001 212-239-8187 E-mail: info@perceptionav.com Web: www.perceptionav.com PRIMALUX VIDEO PRODUCTION, INC. 555 8th Ave., Ste. 1002 New York, NY 10018 212-206-1402 E-mail: info@primalux.com Web: www.primalux.com PRODUCTION CENTRAL 873 Broadway, Ste. 205 New York, NY 10003 212-631-0435 E-mail: info@prodcentral.com Web: www.prodcentral.com Contact: David RSA AUDIO SERVICES 100 Executive Dr., Ste. B Edgewood, NY 11717 631-242-8008 Fax 631-242-8056 E-mail: rsaaudio@aol.com Web: www.rsaaudio.net Studio Equip: yes Musical Equip: yes Lighting: no FX: yes Stages: no Cartage: no SMARTSOURCE RENTALS 265 Oser Ave. Hauppauge, NY 11788 631-273-8888, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com STUDIO INSTRUMENT RENTALS (SIR) 475 10th Ave., Fl. 2 New York NY 10018 212-627-4900 Fax 212-627-7079 E-mail: nyinfo@sir-usa.com Web: www.sirny.com ULTRA SOUND REHEARSAL STUDIO 251 W. 30th St., Fls. 4, 5, 6 New York, NY 10001 212-714-1079 E-mail: booking@ultrasoundrehearsal.com Web: www.ultrasoundrehearsal.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: no Cartage: no VER Video Equipment Rentals 620 12th Ave., Fl. 3 New York, NY 10036 866-483-7692, 212-206-3730 Fax 212-206-9154 E-mail: info@verrents.com Web: www.verrents.com VISUAL WORD SYSTEMS, INC. 35 W. 36th St., Fl. 8 (btw. 5th & 6th Ave.) New York, NY 10018 212-629-8383 Fax 212-629-8333 E-mail: Tony@visualword.com Web: www.visualword.com WIZDOM A/V, INC. NY Metropolitan Area 877-723-1800 E-mail: avhelp@wizdomav.com Web: www.wizdomav.com

151 Kitty Hawk Dr. Morrisville, NC 27560 919-361-1151 Fax 919-405-2380 E-mail: mmurphy@aavevents.com Contact: Mike Murphy 8005 Haute Ct. Springfield, VA 22150 703-573-6910 E-mail: rmathews@aavevents.com Contact: Rick Mathews BACKLINEPRO Charlotte, NC 704-400-6875 Fax 704-366-7011 E-mail: brent@backlinepro.com Web: www.backlinepro.com Contact: Brent Moore CAROLINA BACKLINE P.O. Box 7072 Charlotte, NC 28241 704-575-9020 Fax 440-575-9021 E-mail: edtaylor@carolinabackline.com Web: www.carolinabackline.com NORMAN SOUND & PRODUCTION 912 Central Ave. Charlotte, NC 28204 866-766-7626, 704-334-1601, 866-766-7626 E-mail: nsp@normansound.com Web: www.normansound.com

NORTH DAKOTA

HB SOUND & LIGHTS 3331 S. University Dr. Fargo, ND 58104 701-235-3695 Fax 701-780-8000 E-mail: stacy.evens@hbsound.com Web: www.hbsound.com Additional location: 101 N. 8th St. Grand Forks, ND 582013 888-775-1150, 701-775-1150 RENTALL 3201 32nd St. S. Fargo, ND 58104 701-893-1900 Fax 701-893-1902 E-mail: FARGO32@rentallusa.net Web: www.rentallusa.net Additional locations: 1001 Basin Ave. Bismarck, ND 58504 701-250-1123 E-mail: Bismarck@rentallusa.net 1002 25th St., S Fargo, ND 58103 701-234-1900 E-mail: Fargo25@rentallusa.net 619 s. 47th St. Grand Forks, ND 58201 701-772-1605 E-mail: Forx@rentallusa.net 1116 Main Moohead, MN 56560 218-233-1559 E-mail: Moorhead@rentallusa.net

OHIO

BACKLINE CLEVELAND 11509 York Rd., N. Royalton, OH 44133 440-582-5678 E-mail: russ@backlinecleveland.com Web: www.backlinecleveland.com Contact: Russell Kotts Studio Equip: no Musical equipment: yes Lighting: no FX: no Stages: yes Cartage: yes Tech services: yes COLORTONE 5401 Naiman Pkwy.

Cleveland, OH 44139 440-914-9500 888-287-3728 E-mail: info@colortone.com Web: www.colortone.com

musicconnection.com

MEDIA MAGIC PRODUCTIONS 4504 Rt. 46 S. Jefferson, OH 44047 440-294-2431 E-mail: mail@mediamagicohio.com Web: www.mediamagicproductions.com

GOURMET P A SYSTEMS Cranberry Industrial Park 3016 Unionville Rd. Cranberry Township, PA 16066 724-776-2766 Web: www.gourmetpa.com

SWEET SPOT AUDIO 3301 Lakeside Ave. E. Cleveland, OH 44114 440-342-8625 E-mail: info@sweetspotaudio.com Web: www.sweetspotaudio.com

KEYSTONE PICTURES, INC. 1314 Alter St. Philadelphia, PA 19147 215-667-6645, 800-659-5821 E-mail: scheduling@keystonepictures.tv Web: www.keystonepictures.tv

Additional location:

SMARTSOURCE RENTALS 4110 Butler Pike, Ste. 100 Plymouth Meeting, PA 19462 610-940-9500, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com

Pittsburgh, PA 15205 412-620-3287 WOODSY’S 135 S. Water St. Kent, OH 44240 800-468-1525, 330-673-1525 E-mail: woodsys@woodsys.com Web: www.woodsys.com Additional location: 110 W. Liberty St. Medina, OH 866-545-8575, 330-725-8575 E-mail: greg@woodsys.com

OKLAHOMA

FAV Ford Audio-Video 4800 W. Interstate 40 Oklahoma City, OK 73128 800-654-6744, 405-946-9966 E-mail: logah@fordav.com Web: www.fordav.com Additional location: 8349 E. 51st St. Tulsa, OK 74145 918-664-2420

OREGON

CINEMAGIC STUDIOS 6705 N.E. 79th Ct. Ste. 6 Portland, OR 97218 503-233-2141 Fax-503-233-0076 E-mail: info@cinemagicstudios.com Web: www.cinemagicstudios.com PICTURE THIS 2223 N.E. Oregon St. Portland, OR 97232 503-235-3456, 503-445-7877 Fax 503-236-2302 E-mail: info@pixthis.com Web: www.pixthis.com QUICK AV RENTALS Portland, OR 866-416-1800 E-mail: sales@quickavrentals.com Web: www.quickavrentals.com STUDIO INSTRUMENT 2310 N.E. 82nd Ave. Portland, OR 97220 503-282-5583, Fax 503-282-5584 E-mail: orinfo@sir-usa.com Web: www.sir-usa.com TIDEPOOL AUDIO Portland, OR 503-963-9019 E-mail: sales@tidepoolaudio.com Web: www.tidepoolaudio.com

PENNSYLVANIA

ALL SOUND PRO 1031 Kunkle Dr. Chambersburg, PA 17202 Bob: 717-496-1645 or Shelby: 717-809-6904 E-mail: allsoundpro@gmail.com, bob@allsoundpro.com Web: www.allsoundpro.com Contact: Bob Ranalli, Shelby Bacz Studio Equip: yes Musical Equip: yes Lighting: yes Stages: yes Cartage: yes-locally

Pittsburg, PA 15220 412-400-9643

AMP AUDIO VISUAL 204 Turner Industrial Way Aston, PA 19014 877-287-7676 E-mail: info@ampav.net Web: www.ampav.net

MARK STUCKER PRODUCTIONS Cincinnati, OH 513-325-4943 Fax 413-669-0801 E-mail: mark@markstucker.com Web: www.markstucker.com

AUDIO VISUAL RENTAL SERVICES 4039 Comly St. Philadelphia, PA 800-695-5943 Web: www.audiovisualrenting.com

Additional location:

NORTH CAROLINA

AAV EVENTS 4700 Emperor Blvd.

Durham, NC 27703 919-941-8112 Fax 919-941-9109 E-mail: ehauge@aavevents.com Web: www.aavevents.com Contact: Erik Hauge

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Additional locations:

VIDEOSMITH INC. 200 Spring Garden St., Ste. C Philadelphia, PA 19123 215-238-5070 Fax 215-238-5075 E-mail: info@videosmith.com Web: www.videosmith.com

RHODE ISLAND

AMBIENT, INC. 75 New England Way Warwick, RI 02886 401-941-8500 Fax 401-732-5368 E-mail: info@ambientsound.com Web: www.ambientsound.com ECLPS East Coast Lighting & Production Services 1300 Jefferson Blvd., Ste. D Warwick, RI 02888-1000 888-467-9070, 401-467-8780 E-mail: info@eclps.com Web: www.eclps.com RHODE ISLAND RENTALS 111 Plan Way Warwick, RI 02886 800-873-6888, 401-738-9731 E-mail: partysales@rirental.com Web: www.rirental.com

SOUTH CAROLINA NEW PRO VIDEO 3546 Admiral Dr. North Charleston, SC 29405 800-462-8895, 843-554-7811 E-mail: holler@newprovideo.com Web: www.newprovideo.com SHOW SERVICES INC. 365 Red Cedar St., Ste. 201 Bluffton, SC 29910 843-815-3731 E-mail: alex@showservicesinc.com Web: www.showservicesinc.com

SOUTH DAKOTA OUTSOUND PRODUCTIONS 47830 271st St. Harrisburg, SD 57032 605-212-4603 E-mail: info@outsoundproductions.com Web: www.outsoundproductions.com

TENNESSEE ALLPRO ELECTRONICS 800 18th Ave. S., Ste. B Nashville, TN 37203 615-259-9963 E-mail: sales@allproelectronics.com Web: www.allproelectronics.com ALLSTAR AUDIO SYSTEMS, INC. 602 Swan Dr. Smyrna, TN 37167 615-220-0260 E-mail: info@allstaraudio.com Web: www.allstaraudio.com Additional location: P.O. Box 541964 Merritt Island, FL 32954 321-455-2202 BLACKBIRD AUDIO RENTALS 2805 Bransford Ave. Nashville, TN 37204 615-279-7368 E-mail: info@blackbirdaudiorentals.com Web: www.blackbirdaudiorentals.com BLEVINS AUDIO P.O. Box 100903 Nashville, TN 37224 615-202-8669 E-mail: Themciguy@aol.com Web: www.blevinsaudio.net Contact: Steve Sadler

Download at musicconnection.com/industry-contacts BRANTLEY SOUND ASSOCIATES INC. 115 Duluth Ave. Nashville, TN 37209 615-256-6260 E-mail: CCussick@brantleysound.com Web: www.brantleysound.com Studio Equip: yes Musical Equip: yes Lighting: no FX: no Stages: yes Cartage: no CHRISTEC MEDIA P.O. Box 218042 Nashville, TN 37221 615-973-1825 Web: www.christecmedia.com Contact: Larry Repasky DR&A, INC. 45 Willow St. Nashville, TN 37210 615-256-6200, Fax 615-256-6236 E-mail: drice@griptruck.com Web: www.griptruck.com Contact: Doug Rice, Founder/CEO GAULT & ASSOCIATES, INC. 3545 Probasco Pl. Chattanooga, TN 37411 800-424-2858, 423-756-6128 Knoxville: 865-690-5101 Nashville: 615-771-9096 E-mail: avfred@aol.com Web: www.gaultav.com MIDSOUTH VISUAL, INC. Nashville, TN 37219 615-500-5953 E-mail: info@midsouthvisual.com Web: www.midsouthvisual.com NASHVILLE PRODUCTION RENTALS 3401 Ambrose Ave. Nashville, TN 37207 615-775-7609 Fax 615-230-8658 E-mail: mail@nashvilleproductionrentals.com Web: www.nashvilleproductionrentals.com Contact: studio mgr.

Studio Equip: yes Musical Equip: no Lighting: yes FX: no Stages: no Cartage: no Tech Services: yes ONE EVENT SERVICES 1443 Donelson Pike Nashville, TN 37217 877-607-7516, 615-301-6740 E-mail: Nashville@ONeventservices.com Web: www.oneventservices.com SOUNDCHECK 750 Cowan St. Nashville, TN 37207 615-726-1165 Fax 615-256-6045 E-mail: info@sounndchecknashville.com Web: www.soundchecknashville.com Basic Rate: please call for info STUDIO INSTRUMENT RENTALS OF TN, INC. 1101 Cherry Ave. Nashville, TN 37203 615-255-4500 Fax 615-255-4511 E-mail: tninfo@sir-usa.com Web: www.sir-usa.com Studio Equip: yes Musical Equip: yes Lighting: yes FX: yes Stages: yes Cartage: yes TENNESSEE CONCERT SOUND 4958 Hwy. 70 E. Brownsville, TN 38012 731-772-2292 E-mail: tnconsound@aol.com Contact: Stewart Tritt THOMPSON MUSIC RENTAL Nashville, TN 615-210-2120 E-mail: markthompson@comcast.net Web: www.thompsonmusicrental.com TREW AUDIO 220 Great Cir. Rd., Ste. 116 Nashville, TN 37228 800-241-8994, 615-256-3542 E-mail: info@trewaudio.com Web: www.trewaudio.com VER Video Equipment Rentals 12630 Old Hickory Blvd.

Nashville, TN 37013 615-280-2255, Fax 615-280-2181 E-mail: info@verrents.com Web: www.verrents.com

THE VIDEO COMPANY NASHVILLE 1805 Hayes St. Nashville, TN 37203 855-588-2882, 615-320-3200 E-mail: info@tvcnashville.com Web: www.tvcnashville.com

TEXAS

ACAV Action Computer & Audio Visual Corporate HD 8524 Hwy. 6 N., #131 Houston, TX 77095 866-475-6825, 281-550-7955 E-mail: sales@actioncomputerandaudiovisual. net Web: www.actioncomputerandaudiovisual.net DAVID BARROW PRODUCTIONS 3633 North Hills Dr. Austin, TX 78731 512-345-7106, 512-799-8468 E-mail: david@davidbarrow.com Web: www.davidbarrow.com FAV Ford Audio-Video 13375 Stemmons Fwy., Ste. 200 Dallas, TX 75234-5755 800-654-6744, 972-241-9966 Web: www.fordav.com Additional locations: 1340 Airport Commerce Dr., Ste. 470 Austin, TX 78741 512-447-1103 4380 Blalock Rd. Houston, TX 77041 713-690-0555 LONESTAR AUDIO VISUAL 25531 Little Brook San Antonio, TX 78260 210-722-2845 E-mail: info@lonestarav.com Web: www.lonestarav.com MOPAC MEDIA 5800 Berkman Dr. Austin, TX 78723 512-462-2000 Web: www.mopacmedia.com MP&E 17819 Davenport Rd., Ste. 125 Dallas, TX 75252 972-931-3880 Fax 972-931-3882 E-mail: dallas@hdgear.tv Web: www.mayovideo.com Additional location: 4822 E. Cesar Chavez Austin, TX 78702 514-485-3131 E-mail: austin@hdgear.tv OMEGA BROADCAST GROUP 817 W. Howard Ln. Austin, TX 78753 512-251-7778 Fax 512-251-8633 E-mail: sales@omegabroadcast.com Web: www.omegabroadcast.com Contact: Bart McNeil, Sales OMEGA PRODUCTIONS P. O. Box 606 Palacios, TX 77465 214-891-9585 Fax 214-722-1442 E-mail: getinfo@omegalive.com Web: www.omegalive.com ONSTAGE SYSTEMS 10930 Petal St. Dallas, TX 75238 972-686-4488 E-mail: donovan@onstagesystems.com Web: www.onstagesystems.com PINNACLE GROUP, THE Houston, TX 800-524-7462, 337-802-1916 E-mail: support@pingroup.com Web: www.pingroup.com RESOLUTION MEDIA Houston, TX 77042 Web: www.resmedia.com

2101 Midway Rd., Ste. 100 972-960-9888 Carrollton, TX 75006 SOUNDCHECK 1901 E. 51st St. Austin, TX 78723 512-444-0023 E-mail: info@sounndcheckAustin.com Web: www.soundcheckAustin.com Basic Rate: please call for info Additional location: 3542A E. TC Jester Blvd.

Houston, TX 77018 719-290-0335 E-mail: monika@soundcheckaustin.com Web: www.SoundcheckHouston.com VER Video Equipment Rentals 1775 Hurd Dr. Irving, TX 75038 877-920-9020, 214-307-6529 Fax 214-260-1300 E-mail: info@verrents.com Web: www.verrents.com

UTAH

TV SPECIALISTS, INC. 180 E. 2100 S. Salt Lake City, UT 84115 888-486-5757, 801-486-5757 E-mail: info@tvspecialist.com Web: www.tvspecialists.com WEB AUDIO VISUAL COMMUNICATIONS 3020 S.W. Temple Salt Lake City, UT 84115 801-484-8567, 877-908-8567 E-mail: info@webbav.com Web: www.webbav.com Additional locations: 247 24th St. Ogden, UT 84401 801-866-5534 E-mail: pauls@webbav.com Contact: Paul Stevens University Park Marriott 480 Wakara Way Salt Lake City, UT 84108 801-824-4593 E-mail: anthonyp@webbav.com Contact: Anthony Park 1895 Sidewwinder Dr. City, UT 94068 435-901-4472 E-mail: scottg@webbav.com Contact: Scott Garner

VERMONT SHOW WORKS 179 Mill St. P.O.Box 219 East Barre, VT 05649 802-522-5294 E-mail: sales@showworksonline.com Web: www.showworksonline.com SOUNDVISION 310 Hurricane Ln., Ste. 1 Williston, VT 05495 800-547-4343, 802-871-5130 E-mail: sales@svav.com Web: www.svav.com Additional location: 7 Lincoln St., Ste. 200-A Wakefield, MA 01880 781-245-9655

VIRGINIA AAV EVENTS 8005 Haute Ct. Springfield, VA 22150 703-573-6910 Fax 703-573-3539 E-mail: rmathews@aavevents.com Web: www.aavevents.com Contact: Rick Matthews Additional locations:

SMARTSOURCE RENTALS 3322 Longmire Dr., Ste. 200 800-955-5171 College Station, TX 77845 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com

4700 Emperor Blvd.

Durham, NC 27703 919-941-8112, Fax: 919-941-9109 E-mail: ehauge@aavevents.com Web: www.aavevents.com Contact: Erik Hauge

Additional locations:

151 Kitty Hawk Dr. Morrisville, NC 27560 919-361-1151 Fax 919-405-2380 E-mail: mmurphy@aavevents.com Contact: Mike Murphy

5833-B Westview Dr. 713-290-0607 Houston, TX 75055

AVIVA RENTALS 1609 Rhoadmiller St. Richmond, VA 23220 877-564-9143, 804-353-9212 E-mail: john@avivarentals.com Web: www.audiovisualrentalsvirginia.com CONNECTING POINT MULTIMEDIA, INC. P.O. Box 986 Arlington, VA 22216-0986 703-527-8220, Fax 888-86-5685 E-mail: info@cpmmonline.com Web: www.cpmmonline.com ALL SOUND PRO (see main office under Pennsylvania) Bob: 717-496-1645 Shelby: 717-809-6904 E-mail: allsoundpro@gmail.com, bob@allsoundpro.com Web: www.allsoundpro.com Contact: Bob Ranalli, Shelby Bacz Studio Equip: yes Musical Equip: yes Lighting: yes Stages: yes Cartage: yes-locally SMARTSOURCE RENTALS 7664 Fullerton Rd., Ste. K Springfield, VA 22153 703-978-2321, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com

WASHINGTON

AV RENT Seattle, WA 206-575-7771 E-mail: sales@avequipment.com Web: www.avrent.com Additional location: 1004 Industry Dr., Bld. #30 (Headquarters) Tukwila, WA 98188 (South Center) 253-474-9979 SMARTSOURCE RENTALS 8655 154th Ave. N.E., Bldg. O Redmond, WA 98052 525-881-5353, 800-888-8686 E-mail: info@smartsourcerentals.com Web: www.smartsourcerentals.com STUDIO INSTRUMENT RENTALS 3631 Interlake Ave. N. Seattle, WA 98103 206-782-6800 Fax 206-782-6862 E-mail: wainfo@sir-usa.com Web: www.sir-usa.com VER Video Equipment Rentals 12610 Interurban Ave. S., Ste. 110 Tukwila, WA 98168 206-242-3860 Fax 206-242-3859 E-mail: info@verrents.com Web: www.verrents.com

WISCONSIN

FULL COMPASS SYSTEMS, LTD. 9770 Silicon Prairie Pkwy.

Madison, WI 53593 800-476-9886, 608-831-7330 E-mail: rentals@fullcompass.com Web: www.fullcompass.com INTELLASOUND PRODUCTIONS 416 Venture Ct., Ste. 2 Verona, WI 53593-1821 608-845-5683 Fax 608-845-3299 E-mail: mail@intellasound.com Web: www.intellasound.com QUA 2625 S. Lenox St. Apt. #3 Milwaukee, WI 53207 702-556-7969 E-mail: qua@quavisuals.com Web: www.quavisuals.com Contact: Tim Stoll

WYOMING

SHAPED MUSIC, INC. Serving all of Wyoming, Nebraska, Utah and New Mexico 970-221-2315 Fax 970-224-2326 E-mail: randyc@shapedmusic.com Web: www.shapedmusic.com WILD BUNCH VIDEO PRODUCTIONS 244 N. Beverly Casper, WY 82601 307-267-6377, 307-267-5044 E-mail: wildbunchvp@bresnan.net, akastorme@gmail.com Web: www.wildbunchvp.com, facebook Contact: Scott Sterrett, Jared Walker

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For Advertising Info Call 818-995-0101

MARKETPLACE

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For Advertising Info Call 818-995-0101

MARKETPLACE

– DJ COLA

How to Find the Name of Any A&R Rep and Submit to Their Label

I

f you have read any article online about how to submit to labels, you will often see they suggest to find the name of a person to send your demo to.

This is good advice, but very rarely do you find any ideas on how to procure a name at a music label. Mostly you are left scratching your head wondering if you should just send it off cold.

Should you enter all your information into the automated form box on the label’s contact page? Maybe. Should you take a risk and just type info@whatever-the-label-name-is.com to try to get the attention of an invisible someone on the other side? Probably not.

You actually can find a name if you do your research and in this article I will give you some useful tips on how to do just that.

Google When you search for your favorite record label on the search engine Google. com it will pull up a box on the right hand side with info about the label. Inside the box will be a short description from Wikipedia.

I use Google Chrome as a browser almost exclusively, so try it yourself and see what pops up. For example when I type in “Global Underground” it mentions Andy Horsfield as the founder on the right hand side. When I click on his name I can read more about him through Wikipedia.

You can also type in your favorite DJ’s name and get information on what labels he or she has been on. If I type “Sasha” into the search bar I can see a list of every label he’s ever been on; Global Underground, Ministry of Sound, emFire, Deconstruction Records, Boxed. Now I can research these labels and submit to them.

How do I send an email to ___________?

Sometimes you can just type in “How do I send an email to ___________?” (Insert label name in the blank) and the search engine will show you a forum where someone else has already figured it out. Someone, in the same situation as you, already discovered the email of a particular A&R person and decided to plaster it on a forum or on Twitter for others to see.

Music Blogs You should read as many music blogs and articles as you can on this subject. Some writers actually interview A&R people who explain how to get a demo to them. When you find out valuable information like this you should turn around and do exactly what they say when you send your demo out.

YouTube Videos You could pay for airfare and a ticket to a music conference (which is totally worth it by the way!), but if you are short on cash you could search YouTube instead and watch the videotaped panel discussions.

Industry professionals sit on panels and talk about what they do and what music they are looking for. Now you have the name and the face of an A&R person. All you have to do is put their name in the search engine to find their company, their email or snail mail address.

Yes, snail mailing your CD to a specific person might actually work in this day and age!

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Books and Magazines You can also get on Amazon or go to a bookstore and find the Musician’s Atlas. It will give you all the information you need on who’s who in the industry when you buy the latest addition.

There are also resources like Billboard magazine and the Hollywood Reporter that put together the latest industry news and the people behind it.

Just Ask Lot of times asking for the information you want is a totally viable option.

Just be sure to do it politely. Try something like this: “Hi, I’m writing because I was wondering if you knew who I could send my demo to. I was looking for a name and an email, but couldn’t find anything on the label’s website.

Thanks for your time, DJ So and So” Often times you will find a booking agent or manager’s email before you ever find an A&R reps.

If you are nice to them they will probably be glad to help direct you to who you should send your demo to.

Music Connection’s Annual Directory of A&R The easiest and most painless thing you could do is head over to music connection.com/industrycontacts and download Music Connection’s Annual Directory of A&R Reps for free.

Click on the “Directory of A&R Reps” link at the top of the list. Then enter your name and email when the pop-up appears. A download link to the PDF will then be sent to you in your email inbox.

The directory lists the snail mail address of the record label, the email address, the website, the style of music they are looking for and most importantly the name of the A&R person. When I looked up Aftermath Entertainment I found “Andre Young” listed as a contact who also goes by Dr. Dre. It’s an invaluable list and includes all the labels you have heard of and all the ones you haven’t.

You can also find directories for managers and booking agents, music publishers, producers and engineers and bunch of other music related subjects on the website.

And finally…

You’ve spent a lot of time and effort and, most times, money on producing your musical masterpieces, so do yourself a favor and put the same amount of effort into sending demos.

Your dreams of becoming a superstar DJ or rock star may not happen overnight, but doing your due diligence, presenting yourself professionally and having patience when it comes to receiving a response to your email always pays off over any shortcuts you could ever think up.

DJ COLA is a musician, DJ and writer. He has interviewed notable DJs for DMC World Magazine and has published articles in Colorado Music Buzz. You can see what he is up to at djcola.net.

Download at musicconnection.com/industry-contacts

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